THE  ART  INSTITUTE  OF 
CHICAGO.  CATALOGUE 
OF  A  LOAN  EXHIBITION 
OF  JAPANESE  COLOUR 
PRINTS  MARCH  5  TO 
MARCH  25  1908. 


.  K.  f 


CATALOGUE 


O  F 


*>  p 


APANESE  COLOUR  PRINTS 


. 

AND  DRbCRlFOVE  AND  AN 
t  NTRODUCTORY  ESS  A  Y 


by 

-  i  *  f 

l  ‘O'A 

ncfotroioM 


Moronobu 


THE  ART  INSTITUTE  OF  CHICAGO 


CATALOGUE 

OF  A  LOAN  EXHIBITION  OF 

JAPANESE  COLOUR  PRINTS 


.a0su'3D  v:i  Kmrv:  oo\ 

WITH  NOTES  EXPLANATORY 
AND  DESCRIPTIVE  AND  AN 
INTRODUCTORY  ESSAY 

v h  d i /  a  i  o ,i  j.  - .  /i . . 

FREDERICK  WILLIAM  GOOKIN 


CHICAGO 

March  5  to  March  25,  1908 


AD  I  J 


a  o  a 


ij  ;  1 


The  exhibition  is  made  at  the  request  of  the 
Trustees  of  the  Art  Institute. 

COMMITTEE  IN  CHARGE. 

Clarence  Buckingham, 
Frederick  W.  Gookin, 

J.  Clarence  Webster, 

Frank  L,loyd  Wright. 


The  compiler  of  this  catalogue  desires  to 
acknowledge  his  indebtedness  to  Mr.  Cboyo 
for  invaluable  assistance  in  its  preparation. 


INTRODUCTION. 


Although  the  names  of  some  of  the  eminent  artists  of  old 
Japan  have  been  made  known  to  the  Western  world  within  the 
past  twenty-five  years  through  books,  essays  and  lectures,  the 
opportunities  for  seeing  important  works  by  the  painters  of  the 
classical  schools  are  so  few  that  the  only  branch  of  Japanese  art 
with  which  we  may  be  said  to  be  even  tolerably  familiar  is  that 
of  the  Popular  School,  or  Ukiyo-e  ryu.  In  the  minds  of  most 
of  us  the  colour  prints  by  the  artists  of  that  school  are  represent¬ 
ative  of  the  art  of  Japan,  considered  as  an  entity.  As  a  matter 
of  fact  they  represent  but  one  phase  of  that  art,  a  phase  in  many 
respects  noteworthy,  though  so  far  from  being  the  most  im¬ 
portant  that  in  the  estimation  of  Japanese  connoisseurs  it  has 
been  almost  a  negligible  quantity.  Indeed,  it  is  only  through  the 
medium  of  Western  appreciation  that  the  Japanese  are  gradually 
awakening  to  a  true  conception  of  the  intrinsic  merit  of  the  finer 
works  of  this  school,  and  of  the  prints  in  particular. 

To  understand  the  mental  attitude  of  the  Japanese  critics 
toward  these  works  it  is  necessary  to  know  something  of  the  con¬ 
stitution  of  the  social  fabric  under  the  feudal  system.  At  the 
upper  end  of  the  scale  were  the  Court  nobles  (Kuge),  the  Daim- 
yo,  the  hereditary  military  men  (Samurai),  priests  and  scholars. 
Between  them  and  the  lower  classes  was  an  almost  immeasur¬ 
able  gulf.  Highest  among  the  commoners  (heimen)  were  the 
farmers.  Below  them  were  the  artisans,  and  still  lower  were 
the  merchants,  innkeepers,  servants,  and  the  like;  while  lowest 
of  all  were  the  eta,  or  outcasts,  a  class  comprising  scavengers, 
butchers,  leather  workers,  and  others  engaged  in  what  were 
considered  degrading  occupations. 

Until  the  rise  of  the  Ukiyo-e  ryu  the  artists  With  rare  excep¬ 
tions  were  drawn  from  the  upper  classes.  Painters  of  marked 


-5- 


ability  were  given  honourable  titles  and  were  raised  to  noble 
rank  on  account  of  their  achievements  with  the  brush.  The  art 
of  the  earlier  schools  is  an  art  refined,  poetic  and  intensive  to 
the  last  degree.  It  is  based  upon  profound  understanding  of 
aesthetic  laws,  and  in  its  higher  ranges  it  is  imbued  with  an  in¬ 
effable  spiritual  content.  Ukiyo-e  art,  on  the  contrary,  is  the  art 
of  the  common  people.  It  is  flippant,  whimsical,  comic.  Sel¬ 
dom  are  the  things  depicted  intended  to  be  taken  quite  seriously; 
the  chief  exceptions  being  landscapes,  birds  and  flowers,  and 
portraits  of  actors.  In  nearly  every  picture  there  is  some  joke, 
open  or  cleverly  hidden,  some  travesty  of  popular  myth,  well- 
known  tale,  or  event  in  history,  some  sly  hit  at  the  vices  or  follies 
of  the  aristocrats,  or  else  some  quaint  fantasy  to  amuse  a  light¬ 
hearted  people.  A  very  large  proportion  of  the  subjects  deal 
with  the  theatre  and  the  denizens  of  the  Yoshiwara.  To  the 
Japanese  of  the  upper  classes  Ukiyo-e  art  was  a  synonym  for  the 
art  of  the  Under  World.  It  is  not  surprising  that  they  failed 
to  appreciate  its  merit.  To  give  Ukiyo-e  paintings  or  prints  an 
honourable  place  in  one’s  house  was  a  confession  of  lack  of 
taste.  Were  there  no  other  reason,  the  subjects  for  the  most 
part  rendered  them  unfit  if  not  impossible.  They  were  indeed 
amusing,  but  were,  looked  upon  much  as  we  regard  the  pictures 
in  our  comic  periodicals.  Even  when  the  art  is  good  it  is  hard 
to  disassociate  it  from  the  humor  and  enjoy  it  for  itself  alone. 
More  commonly  we  fail  to  appreciate  it  as  qrt  or  to  consider  it 
as  such.  So  it  was  with  the  prints.  To  the  Japanese  they  ap¬ 
peared  little  better  than  children’s  toys.  In  considering  this  we 
should  not  overlook  the  important  circumstances  that  when  first 
printed  they  were  in  general  far  less  charming  than  they  are 
today.  The  splendid  -colour  that  now  makes  them  so  entrancing 
has  come  in  large  measure  through  the  mellowing  influence  of 
time,  and  it  is  difficult  to  believe  in  the  complete  transformation 
that  in  many  instances  close  study  reveals. 

Even  to-day  inherited  'prejudice  prevents  widespread  appre¬ 
ciation  of  the  print?  in  the  land  of  their  origin.  Our  enthusiastic 


admiration  is  still  more  or  less  of  a  mystery  to  out  neighbors 
across  the  Pacific.  Only  now  that  they  have  parted  with  nearly 
all  of  their  stock  are  they  beginning  to  understand  how  it  was 
that  the  Western  art  lover,  unhampered  by  any  traditional  point 
of  view,  and  not  disturbed  by  any  associations  or  meanings  there 
might  be  in  the  subjects,  was  able  to  perceive  the  glories  of  col¬ 
our,  the  superb  composition,  the  masterly  treatment  and  rare 
beauty  to  which  they  have  been  blind. 

The  inception  of  the  Ukiyo-e  school  dates  back  to  the  closing 
years  of  the  sixteenth  century,  when  a  reaction  set  in  against 
the  Chinese  classicism  of  the  Ashikaga  period.  This  manifested 
itself  in  the  choice  of  Japanese  subjects,  treated  in  a  novel  way, 
combining  features  of  both  the  Kano  and  Tosa  styles,  yet  in 
many  respects  breaking  away  from  academic  traditions.  The 
reputed  author  of  the  revolt  was  Iwasa  Matahei,  son  of  the 
Daimyo  of  Itami,  but  other  leading  artists  of  the  time,  notably 
Kano  Sanraku,  also  painted  pictures  in  the  new  manner,  which 
was  not  at  the  time  held  to  constitute  a  distinct  school.  The  sub¬ 
jects  being  drawn  from  the  life  of  the  people  these  pictures  were 
called  Ukiyo-e.  E  is  the  Japanese  term  for  picture  or  drawing. 
Ukiyo  as  originally  written  had  a  Buddhistic  signification  and 
was  applied  to  the  secular  as  distinguished  from  the  ecclesiastical 
world.  Literally  the  word  means  “the  miserable  world,”  but 
as  now  used  it  may  be  more  accurately  translated  as  “the  passing 
(or  floating)  world  of  every-day  life.” 

Perhaps  because  these  themes  were  not  considered  quite  dig¬ 
nified,  the  Ukiyo  paintings  by  Matahei  and  his  contemporaries 
and  successors,  though  prized  and  much  sought  after  in  court 
circles,  were  seldom  signed,  and  the  identification  of  their 
authorship  is  a  matter  of  extreme  difficulty.  For  more  than  half 
a  century  works  in  this  manner  continued  to  be  produced  in 
considerable  numbers,  but  the  movement  did  not  crystallize  into 
a  school  until,  in  the  person  of  Hishikawa  Moronobu,  a  leader 
appeared  to  give  it  form  and  direction.  Though  he  was  a  painter 
of  rare  distinction,  whose  works  found  ready  purchasers  among 
the  Daimyos  and  wealthier  Samurai,  it  was  as  a  designer  of 

—7— 


book  illustrations  and  later  of  ichimai-e,  or  single  sheet  prints, 
that  he  gave  the  impetus  to  Ukiyo-e.  For  fifty  years  or  more 
prior  to  his  time  books  with  engraved  illustrations  had  been  pub¬ 
lished  in  Japan,  but  they  were  comparatively  few  and  the  illus¬ 
trations  poor  and  crudely  executed.  The  twelve  drawings  which 
he  made  for  Onna  Kagami,  a  book  of  instruction  for  women 
in  etiquette  and  hygiene,  published  in  1659,  marked  a  decided 
advance.  This,  so  far  as  we  kn6w,  was  the  first  of  a  long  series 
of  books  illustrated  by  him.  Their  popularity  was  deservedly 
great  and  by  them  his  fame  became  widespread.  The  illustra¬ 
tions  were  printed  in  black,  from  blocks  similar  to  those  from 
which  the  text  was  printed,  and  were  characterized  by  fine  broad 
treatment  and  a  rather  wiry  but  strong  and  expressive  outline. 

About  1670  Moronobu:  began  to  issue  larger  drawings,  print¬ 
ed  upon  broadsheets  which  could  be  affixed  to  screens,  or  mount¬ 
ed  as  kakemono  (hanging  pictures).  These  prints,  which  were 
impressions  in  black  froth  one  block  only,  are  known  as  Sumi-e, 
— sumi  being  the  Japanese  name  for  Chinese  ink  {known  to  us 
as  India  ink).  Almost’ from  the  first  the  custom  grew  up  of 
colouring  a  part  of  the  edition  of  these  prints  by  hand, — a  cus¬ 
tom  suggested,  no  doubt,  by  a  class  of  cheap  paintings  extremely 
rough  in  execution,  made  in  editions  and  sold  to  the  people  for  a 
small  price,  which  \ffere  known  as  Otsu-e,  from  the  place  of  their 
manufacture,  a  small  town  near  Kyoto.  At  first  the  colourings 
of  Moronobu’s  prints  were  crudely  done,  but  later  the  pig¬ 
ments  were  often  applied  with  care  and  artistic  effect. 

Though  Moronobu  had  many  pupils,  of  whom  Moroshige 
and  Morofusa  were  the  ablest,  they  devoted  themselves  chiefly 
to  painting,  and  after  the  master’s  death  the  production  of  prints 
fell  into  the  hands  of  a  group  of  three  artists  who  take  rank 
among  the  most  talented  men  of  the  school.  These  were  Torii 
Kiyonobu,  Torii  Kiyomasu  and  Okumura  Masanobu.  Their 
works  were  broadly  treated  and  there  is  a  largeness  in  the  han¬ 
dling  that  we  miss  in  the  more  elaborate  and  sumptuous  works  of 
the  later  periods.  The  finest  are ’impressive  from  the  strength 
and  suavity  of  their  sweeping  brush  strokes  and  majestic  com- 

—8— 


position  of  mass  and.  line, — qualities  brought  into  clear  relief 
through  the  absence  of  petty  detail. 

Early  in  the  eighteenth  century  the  chief  pigment  used  in 
colouring  prints  by  hand  was  tan  (red  lead).  The  prints  upon 
which  it  appears  were  therefore  designated  as  tan-e.  Up  to  this 
time  the  subjects  had  been  mostly  popular  manners  and  cus¬ 
toms,  the  amusements  of  women,  and  illustrations  of  historic 
incidents.  But  now  the  rise  of  the  theatre  as  a  popular  form 
of  entertainment  opened  a  new  and  most  fertile  field  for  the 
exercise  of  the  talent  of  the  Ukiyo-e  artists.  Portraits  of  actors 
in  the  costumes  of  their  most  admired  roles  appeared  in  great 
numbers  and  the  rage  for  them  spread  like  wildfire.  The  passion 
of  the  people  for  the  theatre  became  a  veritable  madness  that 
sorely  troubled  the  Tokugawa  rulers,  and  various  expedients 
were  tried  to  .chefck  it.  They  only  added  fuel  to  the  flame.  Cer¬ 
tain  gross  practices  were  abolished.  This  helped  to  purify  the 
theatre,  and  also  to  .  perpetuate  it  by  removing  the  seed  of  what 
must  almost  inevitably  have  meant  its  early  decay.  Actors  of 
distinguished  ability  became  popular  idols.  Their  comings  and 
goings  were  like  royal  progresses.  Wherever  they  went,  were 
it  to  view  the  cherry  blossoms  at  Ueno,  for  a  boating  party  on 
the  river,  or  for  a  visit  to  the  Yoshiwara,  they  moved  in  state. 
Yet  their  social  station  was  so  low  that  they  were  looked  upon 
as  little  better  than  eta.  Many  of  the  Ukiyo-e  artists  felt  it  a 
degradation  to,  make  drawings  of  actors.  But  .  the  popular  de¬ 
mand  created  a  supply,  and  for  more  than  a  century  a  large  pro¬ 
portion  of  the  enormous  output  of  prints  consisted  of  theatrical 
scenes  and  portraits  of  the  performers. 

About  1715  a  new  style  of  hand  colouring,  said  to  have  been 
devised  by  Torii  ;Kiyonobu,  came  into  vogue  and  greatly  modified 
the  style  in  which  the  prints  were  designed.  In  place  of  tan  he 
substituted  beni,  a  very  beautiful  but  fugitive  red,  extracted 
from  the  saffron.  This  was  used  in  combination  with  a  rich 
greenish  yellow  (probably  gamboge)  and  low-toned  blues  and 
purples.  Finer  details  were  introduced  into  the  designs  and  the 
colouring  in  general  was  more  carefully  done.  To  meet  a  grow- 


ing  demand  for  less  expensive  pieces  smaller  prints  became  com¬ 
mon,  and  to  give  brilliance  to  the  pigments  used  in  colouring 
them  a  little  thin  lacquer  ( urushi )  was  mixed  with  them,  and 
while  wet;  parts  of  the  design  were  sprinkled  with  metallic  pow¬ 
der,  which  was  probably  applied  by  blowing  it  through  a  small 
bamboo  tube.  These  prints  were  known  as  urushi-e,  or  lacquer 
prints.  A  little  later  the  custom  grew  up  of  painting  parts  of 
the  prints  with  black  lacquer. 

Not  until  about  the  year  1743  did  the  practice  begin  of  apply¬ 
ing  colour  by  impressions  from  flat  wood  blocks.  Why  the 
invention  should  have  been  so  long  delayed,  and  why  after  it 
was  once  made,  nearly  twenty  years'  more  should  have  elapsed 
before  the  number  of  colour  blocks  was  increased  beyond  two, 
are  questions  easier  to  ask  than  to  answer.  It  seems  incredible 
that  during  the  fifty  years  when  innumerable  hand-coloured 
prints  were  issued,  no  one  should  have  conceived  the  idea  of 
printing  the  colour  as  well  as  the  black  outline.  The  proba¬ 
bility  would  seem  to  be  that  some  practical  difficulty  connected 
with  the  printing  stood  in  the  way>  Possibly  the  trick  of  mixing 
the  colour  with  rice  paste  to  keep  it  from  running  may  have  been 
the  thing  that  awaited  discovery.  To  whom  the  hbnour  of  the 
innovation  belongs  is  not  known.-  Not  unlikely  more  than  one 
of  the  leading  print  designers  may  have  bad  a  share  in  it.  Be 
that  as  it  may,  they  all  began  to  take  advantage  of  it  at  once,  and 
thus  was  inaugurated  a  new  era  in  the  history  of  the  art. 

For  some  years  only  the  smaller  pieces  were  printed  in  colour. 
The  tall  hasliira-e  or  pillar  prints,  continued  to  be  coloured  by 
hand,  which  would  seem  to  indicate  that  all  of  the  difficulties 
connected  with  the  printing  process  had  not  been  overcome. 
During  the  long  period  when  only  two  colour  blocks  were  used 
in  addition  to  the  black  outline,  the  colours  almost  invariably 
applied  were  beni  and  green,  and  hence  the  name  behi-e  by  which 
these  pfints  are  known.  A  happier  selection  of  colours  could 
not  well  have  been  made.  By  thinning  the  red  and  modifying 
the  hue  of  the  green  a  really  wide  range  of  effects  was  secured. 
Every  possible  combination  and  variation  was  tried  during  the 

—10- 


seventeen  or  eighteen  years  that  the  beni-e  were  in  vogue.  The 
world  is  far  richer  because  of  this  long  period  before  the  number 
of  colour  blocks  was  increased,  since  time  was  afforded  to  work 
out  the  decorative  possibilities  resulting  from  the  limitation  to 
two  colours  and  black  and  white.  This  limitation  demanded  fine 
skill  and  creative  resource  in  the  invention  of  pattern  and  the 
distribution  of  the  colours  employed.  The  results  achieved  were 
remarkable.  It  scarcely  seems  possible  that  so  much  life  and 
vivacity  of  colouring  could  be  given  by  impressions  from  two 
flat  blocks  charged  with  rose  and  green.  What  a  lesson  for 
our  artists,  “impoverished,”  says  Mr.  Fenollosa,  “with  all  the 
resources  of  th&  modern  palette !” 

In  many  of  the  beni-e,  the  red  has  faded  and  turned  into  a 
soft  yellow.  The  green  is  more  stable,  but  that  too  has  in  some 
instances  become  a  warm  citrine  or  russet.  Sometimes  the 
transformation  is  only  partial,  a  part  of  the  print  being  affected 
and  a  part  remaining  almost  unchanged.  Very  rare  are  the 
specimens  in  which  the  original  colour  has  survived  without  ma¬ 
terial  modification. 

About  1758  either  Torii  Kiyomitsu  or  Nishimura  Shigenaga 
— to  each  of  whom  the  innovation  is  accredited — began  to  use 
a  third  colour  block.  After  this  new  developments  followed 
each  other  in  rapid  succession.  The  variety  and  range  of  the 
colour  schemes  broadened  almost  from  day  to  day.  The  thor¬ 
ough  mastery  they  had  attained  in  dealing  with  the  simpler 
means  enabled  the  artists  to  take  full  advantage  of  the  wider 
resources  now  at  their .  command.  Invention  was  stimulated, 
^rid'tiow  new  jth^n'  com^.on  the  scene.  The  name  of.  Suzuki 
Harunobu  is  familiar"  to  every  admirer,  of  Japanese  prints.  It 
is,  in  large  measure,  to  jus  genius  that  the  development  of  full 
colour  printing  is  due.  By  the  year  1765  he  had  come  to  the 
front  and  distanced  all  competitors,  for  popular  favor.  ’  Realizing 
the  possibilities  that,  now  lay  before,  him.  he  proudly  exclaimed, 
“Why  should  I  degrade  myself  by  the  delineation  of  actors?” 
£Iis  ambition,  he  said,  was  to  become  “Tffe  true  successor  of -the 
painters  in  th^ .department,  of  printing,”  that  is  to  say,  to  design 

*  -If- 


prints  that  should  be  worthy  substitutes  for  paintings.  And  so 
he  used  as  many  colour  blocks  as  were  needed  for  the  effects  he 
desired.  The  Yedo-e  or  Yedo  pictures,  as  the  prints  had  been 
called  from  the  fact  that  they  were  produced  only  at  the  capital, 
were  now  denominated  Nlshiki-e,  or  brocade  pictures  from  the 
number  of  -  colours  woven  together  in  them.  To  the  printing 
itself,  the  charging  of  the  blocks  with  colour,  the  character  and 
quality  of  the  pigments  and  of  the  paper  used,  Harunobu  gave 
careful  attention,  and  these,  things  were  greatly  improved  as  a 
result  of  his  experiments.  Associated  with  him  was  a  group  of 
engravers  and  printers  who  attained  rare  skill  and  no  doubt  each 
one  of  them  made  a  substantial  contribution  to  the  advance. 

The  art  now  entered  upon  the  period  of  its  greatest  triumphs. 
In  the  eager  search  for  novel  subjects  scarcely  anything  was 
left  untouched.  History,  mythology  and  romance,  the  number¬ 
less  fetes  and  merrymakings  of  the  people  and  the  routine  of 
their  daily  lives,  representations  of  celebrated  poets  and  heroes, 
scenes  from  the  drama,  portraits  of  popular  actors  and  courte¬ 
sans,  the  revels  of  the  Yoshiwara,  animals  and  plants,  familiar 
scenes  and  famous  landscapes,  furnished  motives  for  almost  end¬ 
less  l?rqadsheets  and  illustrations  of  books. 

:  The  forward  movement  in  print  designing  at  this  epoch  was 
helped  along,  by  a  number  of  artists  of  exceptional  power  who 
seem  to  have  worked  together  to  some  extent.  Torii  Kiyomitsu, 
though  overshadowed  by  Harunobu,  was  no  mean  rival.  His 
unsigned  nishiki-e  are  often  mistaken  for  those  by  Harunobu  and 
with  good  reason.  Indeed,  in  one  triptych  which  Harunobu, 
Kiyomitsu  and  Kiyotsune  executed  jointly,  each  drawing  one 
figure,  it  would  be  quite  impossible  withoyt  the  signatures,  .to  tell 
fjiat.all  three  were  not  by  the  same  hand.  Koriusai,  too,  in  his 
early  works,  closely  imitated  Harunobu,  as  also  did  Kitao 
Shigemasa,  though  somewhat  less  deceptively.  .  Katsukawa 
Shunsho  arid.  Ippitsusai  Buncho,  into  whose  hands  the  theatrical 
branch  of  print,  designing  gravitated  at  this  time,  produced  works 
upon 'which  every  known  resource  of  the  art  was ‘lavished,  and 
which  for  refinement,  hfiarrri'  Sf  Colour,  and  pure  aesthetic  delight 
have  •scarcCl’y  been  surpassed 1  tty 'those  of  ^ny'other  artist.' 


For  some  years  after  the  death  of  Harunobu,  which  occurred 
in  the  year  1770,  the  leading  artists  of  the  school  vied  with  one 
another  in  a  contest  for  popular  favor,  in  the  course  of  which  the 
technique  of  the  art  of  making  coloured  woodcuts  reached  its 
utmost  possibilities.  The  guerdon  rested  for  nearly  a  decade 
with  Koriusai,  a  pupil  of  Harunobu,  but  in  the  end  he  was  sur¬ 
passed  by  Kiyonaga,  the  last  great  figure  of  the  Torii  line.  Al¬ 
though  Kiyonaga’s  work  is  less  refined  and  has  less  charm  than 
that  of  Harunobu,  and  he  was  not  so  versatile  and  perhaps  on  the 
whole  not  so  great  an  artist  as  Hokusai,  the  world-renowned 
master  of  the  early  nineteenth  century,  nevertheless  the  wide 
range  and  plenitude  of  his  powers,  the  splendid  quality  of  his 
brush-work, — especially  his  line,  bold  yet  varied,  plastic,  and 
wonderfully  expressive,— the  richness  of  his  colouring,  and  the 
ripe  mastery  he  displayed  over  all  the  resources  of  his  craft, 
clearly  entitle  him  to  pre-eminence  among  the  artists  of  the  Pop¬ 
ular  School.  In  his  day  he  dominated  all  those  about  him,  and 
all  strove  to  imitate  him  as  closely  as  they  could. 

When  Kiyonaga  passed  from  the  stage  the  decadence  Set  in. 
Still,  for  a  long  time  afterward  many  brilliant  and  splendid  Works 
continued  to  be  produced.  Eishi,  the  first  Toyokuni  and  Uta¬ 
maro  were  artists  of  scarcely  less  ability  than  the  great  men  who 
preceded  them.  Their  finest  Works  rank  among  the  masterpieces 
of  the  school.  But  the  creative  force  that  induced  the  forward 
movement  was  nearly  spent.  Thenceforth  the  tendency  was 
steadily  downward.  Even  men  of  genius  such  as  Toyokuni  and 
Utamaro  were  swept  along  by  the  current ;  novelty  was  sought 
at  any  sacrifice;  their  styles  underwent  changes  not  for  the  better, 
and  between  the  designs  of  their  earfy  and  middle  periods  and 
those  executed  only  a  few  years  later  there  is  a  difference'  that 
does  not  show  improvement.  When  the  artists  of  the  next  gen¬ 
eration  came.upOh  the  scene,  the  pace  became  more  rapid;  There 
was  a  steady  lefting- down  to  the  level  of  the  popular  taste,  which 
became  lowbred  in  consequence;  i"  The  skill  of  artists  and  en¬ 
gravers  waa  often  expended' ift' the  production  of  Works  inter¬ 
esting  chiefly  as  touts  de  foreef-more  remarkable  for  technical 
than  for  artistic  merit ;  the  tendency  toward  exaggerated  drawing 

—43- 


became  more  pronounced;  colouring  grew  more  crude,  raw  and 
over-vivid.  Coincident  with  this  decline  in  the  art  of  the  Popular 
School  there  was  a  change  for  the  worse  in  the  fashions  of  the 
time.  Loud  patterns  of  brocades  and  other  fabrics  came  into 
vogue;  garments  became  showy  and  elaborate,  coiffures,  more 
especially  those  of  the  demi-monde,  were  often  startling  in  their 
extravagance.  As  the  prints  were  usually  accurate  mirrors  of 
contemporary  life,  in  these  changed  fashions  may  be  found  a 
partial  explanation  of  the  inferiority  of  the  works  of  the  later 
men.  Toward  the  middle  of  the  nineteenth  century  the  round 
of  evolution  was  completed,  careless  drawing  and  cheap  printing 
became  the  rule,  refinement  of  line  and  beauty  of  composition 
and  of  colour  disappeared. 

As  a  light  sometimes  flares  up  before  it  goes  out,  so  was  the 
darkness  of  this  period  of  decay  illuminated  by  the  genius  of  two 
men  of  the  first  rank,  Hokusai  and  Hiroshige.  Both  of  these  artists 
were  extraordinarily  prolific.  Hokusai,  who  lived  and  worked 
until  he  reached  the  age  of  eighty-nine,,  produced  a  mass  of  works 
which  in  all  probability  has  never  been  equalled  either  in  extent 
or  variety  by  those  of  any  other  man.  No  other  Japanese  artist 
ever  had  so  many  different  manners,  or  so  many  pseudonyms,  or 
essayed  so  many  different  themes,  or  was  more  daring  in  his  com¬ 
positions,  or  displayed  more  originality.  Like  Shakaru  he  belongs 
in  a  class  by  himself.  ,  His  art,  wonderful!  in  its  versatility  and 
masterly  qualities,  ;  is '  in  many  respects  sui  generis.  The  per¬ 
sonal  equation  is  always  dominant.  This  was  his  salvation. 
More  than  any  other  thing  it  helped  him  to  steer  a  straight  course 
and  avoid  the  rocks  upoh  which  so  many  of  his  contemporaries 
were  wrecked.  Hiroshige  also  was  an  artist  of  commanding 
power,  -.  Hi§;  designs^  have  not  the  rugged  strength  that  we  find 
ip  •  Hokusai  Is;  but  they-,  possess  A  sweetness  and  melting  charm 
that  is  all  their  own.  Both  oT  these  men  are  . among  the  greatest 
landscape  artists  the  world  has  ever  known.  Their  numerous 
prints  of  landscapes 'are  a  revelation  of,  the, possibilities  of  origi¬ 
nality  in  composition  .and ,  variety  of -interest  in  this  field.  Un¬ 
less  c>ne  has  studied  them  in  flne;  examples  it  is  impossible  to 
realize  how  great  is  their  meritr  With  the  Japanese  people  they 


were  exceedingly-  popular.  Edition  after  edition  was  called  for 
until  the  blocks  were  worn  out;  and  in  some  instances  they  were 
re-engraved  and  the  new  blocks  were  also  used  until  no  more  im¬ 
pressions  could  be  taken  from  them. 

In  this  skefcsfe  of  the  history  of  the  art  of  Ukiyo-e  colour¬ 
printing  only  the  more  salient  features  have  been  touched  upon. 
A  comprehensive  account  of  the  school  would  include  in  its  pur¬ 
view  many  minor  print  designers  and  the  artists  who  devoted 
themselves  exclusively  to  painting.  With  few  exceptions  it  was 
the  ambition  of  the  print  designers  to  become  painters,  and  when 
they  had  arrived  at  a  stage  in  their  careers  where  they  could 
afford  it  they  commonly  gave  up  print  designing  to  that  end. 
Many  Ukiyo-e  artists  attained  high  rank  as  painters.  Neverthe^ 
less,  the  greatest  achievements  of  the  school  were  in  the  line  of 
printing.  Of  these  it  is  not  too  much  to  say  that  they  are  the 
most  beautiful  specimens  of  printing  that  have  ever  been  done  in 
any  land  at  any  time.  Yet  none  but  the  most  primitive  methods 
— or  what  from  our  point  of  view  may  seem  such — were  em¬ 
ployed.  The  most  wonderful  among  all  the  prints  is  but  a  “rub¬ 
bing”  or  impression  taken  by  hand  from  wood  blocks.  The  artist 
having  drawn  the  design  with  the  point  of  a  brush  in  outline 
upon  thin  paper,  it' was  handed  over  to  the  engraver,  who  began 
his  part  of  the  work  by  pasting  the  design  face  downward  upon 
a  flat  block  of  wood,  usually  cherry,  sawn  plank-wise  as  in  the 
case  of  the  blocks  used  by  European  wood  engravers  in  the 
time  of  Diirer.  The  paper  was  then  carefully  scraped  at  the 
back  until  the  design  showed  through  distinctly  in  every  part. 
Next,  the  wood  was  carefully  cut  away,  leaving  the  lines  in  relief, 
care  being  taken  to  preserve  faithfully  every  feature  of  the  brush 
strokes  with  which  the  drawing  was  executed.  A  number  of 
impressions  were  then  taken  m  Chinese  ink  from  this  “key  block” 
and  handed  to  the  artist  to  fill  in  with  colour.  This  ingenious 
plan,  which  rs  manifestly  an  outgrowth  of  the  early  custom 
of  coloring  the  ink  prints  (sumi-e)  by  hand,  and  which,  perhaps1, 
would  never  have  been  thought  of  had  not  the  colour  itself  been  an 
afterthought,  enabled  the  artist  to  try  many  experiments  in  colour 
arrangement  with' a  minimum  amount  of  labor.  The  colour 

—is— 


scheme  and  ornamentation  of  the  surfaces  having  been  deter¬ 
mined,  the  engraver  made  as  many  subsidiary  blocks  as  were 
required,  the  parts  meant  to  take  the  colour  being  left  raised  and 
the  rest  cut  away.  Accurate  register  was  secured  by  the  simplest 
of  devices.  A  right-angled  mark  engraved  at  the  lower  right- 
hand  corner  of  the  original  block,  and  a  straight  mark  in  exact 
line  with  its  lower  arm  at  the  left,  were  repeated  upon  each  sub¬ 
sequent  block,  and  in  printing,  the  sheets  were  laid  down  so  that 
their  lower  and  right  hand  edges  Corresponded  with  the  marks 
so  made.  The  defective  register  which  may  be  observed  in  many 
prints  was  caused  by  unequal  shrinking  or  swelling  of  the  blocks. 
In  consequence  of  this,  late  impressions  are  often  inferior  to  the 
early  ones,  even  though  printed  with  the  same  care,  and  from 
blocks  that  had  worn  very  little.  The  alignment  will  usually  be 
found  to  be  exact  upon  one  side  of  the  print,  but  to  get  further 
out  of'  register  as  the  other  side  is  approached. 

The  printing  was  clone  on  moist  paper  with  Chinese  ink  and 
colour  applied  to  the  blocks  with  flat  brushes.  A  little  rice  paste 
was  usually  mixed  with  the  pigments  to  keep  them  from  running, 
and  to  increase  their  brightness.  Sometimes  dry  rice  flour  was 
dusted  over  the  blocks  after  they  were  charged.  To  this  method 
of  charging  the  blocks  much,  of  the  beauty  of  the  result  may  be 
attributed.  The  colour  could  be  modified,  graded,  or  changed 
at  will,  the  blocks  covered  entirely  Or  partially.  Hard,  mechan¬ 
ical  accuracy  was  avoided.  Impressions  differed  even  when,  the 
printer’s  aim  was  uniformity.  Sometimes  in  inking  the  “key 
block,”  which  was  usually  the  last  one  impressed,  some  of  the 
lines  would  fail  to  receive  the  pigment,  or  would  be  overcharged. 
This  was  especially  liable  to  happen  when  the  blocks  were  worn 
and  the  edges  of  the  lines  became  rounded.  A  little  more  or  a 
little  Jess  pigment  sometimes  made  a  decided  difference  in  the 
tone  of  the  print,  and,  it  may  be  noted,  has  not  infrequently  de¬ 
termined  the  nature  aiid  extent  of  the  discolouration  wrought 
by  time.  •  ;  \  s  ,1 

r.  In  printing,  a  sheet  of  paper  was  laid  upon  the  block  and  the 
printer  tubbed  off  the  impression,  Using  for  the  purpose  a  kind 
of  pad  called  a  bareit.  This  was  applied  to  the  back  of  the  paper 

—16— 


and  manipulated  with  a  circular  movement  of  the  hand.  By 
varying  the  degree  of  pressure  the  colour  could  be  forced  deep 
into  the  paper,  or  left  upon  the  outer  fibres  only,  so  that  the 
whiteness  of  those  below  the  surface  would  shine  through  giving 
the  peculiar  effect  of  light  which  is  seen  at  its  best  in  some  of  the 
surimono  (prints  designed  for  distribution  at  New  Year’s  or 
other  particular  occasions)  by  Hokusai.  Uninked  blocks  were 
used  for  embossing  portions  of  the  designs.  The  skill  of  the 
printer  was  a  large  factor  in  producing  the  best  results.  Even 
the  brilliancy  of  the  colour  resulted  largely  from  his  manipula¬ 
tions  of  the  pigments  and  various  little  tricks  in  their  application. 
The  first  impressions  were  not  the  best,  some  forty  or  fifty  having 
to  be  pulled  before  the  blocks  would  take  the  colour  properly. 
Many  kinds  of  paper  were  used.  For  the  best  of  the  old  prints 
it  was  thick,  spongy  in  texture  and  of  an  almost  ivory  tone. 
The  finest  specimens  were  printed  under  the  direct  personal  su¬ 
pervision  of  the  artists  who  designed  them.  Every  detail  was 
looked  after  with  the  utmost  care.  No  pains  were  spared  in 
mixing  the  tints,  in  charging  the  blocks,  in  laying  on  the  paper 
so  as  to  secure  perfect  register,  in  regulating  the  pressure  so 
as  to  get  the  best  possible  impressions.  Experiments  were  often 
tried  by  varying  the  colour  schemes.  Prints  of  important  series, 
as  for  example  Hokusai’s  famous  “Thirty-six  Views  of  Fuji,”  are 
met  with  in  widely  divergent  colourings. 

The  pigments  most  frequently  used  were  comparatively  few 
and  different  lots  of  the  same  pigment  seem  to  have  been  far 
from  uniform  in  hue.  As  to  this  and  some  other  points  upon 
which  we  should  be  glad  to  have  light,  no  very  certain  informa¬ 
tion  exists.  We  do  not  know  how  soon  some  of  the  colours 
began  to  fade.  Internal  evidence  indicates  that  in  some  instances 
the  change  took  place  within  a  comparatively  short  time.  In 
many  of  the  prints  made  between  1760  and  1765  an  olive  green 
was  used  in  combination  with  and  superimposed  upon  a  soft 
yellow.  This  under  exposure  to  light  turned  into  a  low-toned 
grey  of  a  slightly  olive  cast.  The  rarity  of  its  use  after  this 
•period  points  to  abandonment  because  of  its  fugitive  character. 
So,  too,  with  the  lovely  blue  used  by  Harunobu  and  Shunsho 

-17— 


chiefly  as  a  colour  for  sky  and  water.  It  appears  to  have  been 
a  compound  tint  formed  of  blue  mixed  with  some  other  colour 
to  modify  its  intensity.  In  the  change  that  followed, — possibly 
a  chemical  one, — the  blue  disappeared  in  whole  or  in  part,  leav¬ 
ing  in  its  stead  a  buff  hue  having  peculiar  depth  and  a  soft,  vel¬ 
vety  texture.  Many  prints  showing  this  transformation  may  be 
seen  in  the  present  exhibition.  To  our  eyes  the  modified  colour 
is  often  far  more  beautiful  than  the  original,  but  the  variation, 
it  may  safely  be  asserted,  was  not  desired  by  the  artist. 

The  quality  of  the  colour  wrought  by  these  changes  explains 
why  it  is  not  possible  today  to  reproduce  the  prints  successfully. 
The  printing  process  is  still  in  use,  and  as  the  plates  in  such  pub¬ 
lications  4s  “Kokka”  attest,  very  splendid  results  are  still  yielded 
by  it.  But  some  of  the  old  pigments  cannot  now  be  obtained, 
and  if  they  could  we  should  still  have  to  wait  long  years  for  time 
to  mellow  the  prints  made  with  them.  Indigo  can  be  had,  but 
it  is  not  -the  same  indigo  and  its  colour  is  not  quite  like  the  old 
which  was  extracted  from  blue  cloth  imported  from  China.  Beni 
can  be  made,  but  the  secret  of  the  blue  added  to  it  to  produce  the 
divine  violet  seen  in  many  of  the  prints  has  been  lost,  as  has  that 
of  the  precious  moss  green  used  by  Utamaro.  (See  No.  453 
in  this  exhibition.)  Many  reproductions  have  been  made  during 
the  last  twenty-five  years  and  some  of  them  are  extremely  clever ; 
but  the  printing  lacks  depth,  and  when  placed  beside  the  old 
works  they  appear  dull  and  lifeless. 

Colour  prints  were  made  for  many  purposes.  To  some  ex¬ 
tent  they  were  used  as  advertisements.  Incidentally,  they  served 
as  fashion  plates.  Some  were  regularly  published  and  sold  in 
shops.  Others  were  designed  expressly  upon  orders  from  pa¬ 
trons  to  whom  the  entire  edition,  sometimes  a  very  small  one, 
was  delivered.  The  number  struck  from  any  block  or  set  of 
blocks  varied  widely.  Of  the  more  popular  prints  many  editions 
were  printed,  each  one,  as  might  be  expected,  inferior  to  those 
that  preceded  it.  Not  infrequently  the  Tokyo  publishers  removed 
from  their  out-of-date  blocks  the  marks  showing  their  imprint, 
and  sold  them  to  publishers  in  Osaka  and  Nagoya,  by  whom  poor 
and  cheap  editions  were  issued.  Eiraku-ya,  of  Nagoya,  in  par- 

—18— 


ticular,  is  said  to  have  bought  many  old  blocks,  some  of  which 
were  revamped  in  various  ways  before  being  reprinted. 

Most  of  the  prints  were  sold  at  the  time  of  publication  for  a 
few  sen.  The  finer  ones  brought  relatively  higher  prices,  and 
such  prints  as  the  great  triptychs  and  still  larger  compositions 
by  Kiyonaga,  Eishi,  Toyokuni,  Utamaro  and  other  leading  artists 
could  never  have  been  very  cheap.  In  general,  however,  the 
price  was  small  and  they  were  regarded  as  ephemeral  things. 
Many  were  used  to  ornament  the  small  screens  that  served  to 
protect  kitchen  fires  from  the  wind,  and  in  this  use  were  inevitably 
soiled  and  browned  by  smoke.  Others  mounted  upon  the  sliding 
partitions  of  the  houses  perished  in  the  fires  by  which  the  Jap¬ 
anese  cities  have  been  devastated ;  or  if  in  houses  that  chanced 
safely  to  run  the  gauntlet  of  fires,  typhoons,  cloudbursts  and 
other  mishaps,  their  colours  faded  and  their  surfaces  were  rubbed 
until  little  more  than  dim  outlines  were  left. 

Fortunately,  though  the  upper  classes  did  not  consider  the 
prints  as  works  of  art,  that  did  not  prevent  them  from  buying 
them  for  the  amusement  they  afforded.  The  samurai,  though 
forbidden  to  patronize  the  theatres,  frequently  did  so  in  disguise. 
And  when  they  returned  to  their  home  provinces  with  their  feudal 
lords  after  the  six  months  of  every  year  spent  in  the  capital,  they 
usually  carried  with  them  large  quantities  of  prints.  Country 
people  visiting  Yedo  rarely  returned  without  taking  many  of 
these  cheap  souvenirs  of  the  city  to  distribute  among  their  neigh¬ 
bors.  Of  course  many  of  these  were  destroyed,  but  the  Japanese 
have  always  been  accustomed  to  take  care  of  their  possessions, 
and  so  many  thousands  of  prints  were  neatly  packed  away  in 
boxes  and  placed  in  the  kuras  or  fireproof  storehouses.  There 
they  were  often  spoiled  by  mildew,  the  dread  foe  of  the  Jap¬ 
anese  housewife,  and  eaten  by  moths.  Those  pasted  in  albums, 
as  were  many  of  the  noted  series  by  Hokusai  and  Hiroshige, 
fared  better  than  the  loose  ones. 

Thus  it  has  come  about  that  in  spite  of  the  enormous  number 
printed,  really  choice  specimens  are  very  rare.  Even  at  the  time  of 
their  issue  the  number  of  those  in  what  may  be  called  the  “proof” 
state  could  not  have  been  large.  Collections  were  rarely  made. 

-19- 


Literary  men  often  saved  such  as  were  inscribed  with  odes  of 
especial  merit,  or  had  recondite  hidden  meanings  that  appealed 
to  them,  and  to  their  care  we  are  indebted  for  the  preservation 
of  the  majority  of  those  that  have  survived  in  perfect  or  nearly 
perfect  condition.  Perhaps  the  largest  important  collections 
were  those  kept  by  the  representatives  of  old  publishing  houses. 
It  is  from  one  of  these  that  a  number  of  the  finest  works  shown 
in  the  present  exhibition  were  obtained. 

For  those  who  have  learned  the  elements  of  their  language, 
the  charm  of  the  prints  is  very  great.  In  splendor  and  variety 
of  colouring  they  are  superb.  In  the  finest  of  them  it  is  of 
transcendent  loveliness ;  quiet  it  may  be  almost  to  dullness,  yet 
never  dull ;  sometimes  rich  and  glowing ;  always  serene  and 
mellow,  and  of  such  perfect  and  exquisite  harmony  that  it  brings 
to  the  aesthetic  sense  the  tranquil  jcy — one  might  almost  say 
the  ecstasy — of  complete  satisfaction. 

But  colour  is  only  one  of  the  qualities  to  which  the  prints  owe 
their  charm.  They  are  hardly  less  remarkable  for  the  majesty 
of  designing  power,  the  style  and  spirit,  the  daringness  of  con¬ 
ception  which  they  reveal;  for  grace,  beauty,  and  sweep  of  line, 
for  perfect  balance  of  light  and  dark  masses,  in  short,  for  excel¬ 
lence  in  the  fundamental  quality  of  composition  upon  which 
everything  else,  in  any  work  of  art,  depends.  As  exercises  in 
composition  they  are,  in  the  aggregate,  unsurpassed  by  anything 
the  world  has  to  show.  Their  grammar  is  flawless.  Tech¬ 
nically,  too,  they  leave  nothing  to  be  desired.  They  are  wrought 
throughout  in  the  most  workmanlike  manner.  In  detail  and 
finish  they  are  exquisite.  Considered  merely  as  wood  engrav¬ 
ings  they  are  of  the  very  first  order  of  excellence.  What  mat¬ 
ters  it,  then,  that  the  drawing  is  sometimes  queer,  that  faces  ap¬ 
pear  to  Western  eyes  to  be  stereotyped,  expressionless  and  with¬ 
out  individuality  (though  this  is  not  so  in  reality,  as  close  inspec¬ 
tion  will  show),  and  that  now  and  then  we  meet  with  the  use 
of  conventions  of  incredible  effrontery?  And  what  does  it 
matter  that  they  were  sold  originally  for  the  merest  pittance; 
that  the  function  of  many  of  them  was  not  unlike  that  of  our 
modern  illustrated  newspapers ;  that  others  were  in  the  nature 

-20- 


of  fashion  sheets  or  pictorial  advertisements?  Ought  it  not 
rather  to  increase  our  admiration  that  such  evanescent  things 
should  have  such  rare  artistic  qualities;  that  the  men  who  pro¬ 
duced  them,  working  from  day  to  day  to  meet  a  passing  demand, 
should  nevertheless  put  into  their  works  the  full  measure  of 
their  strength,  the  utmost  resources  of  their  art;  should  lavish 
upon  them  such  tender  care  and  painstaking  effort,  such  taste 
and  skill,  as  assuredly  put  them  in  the  category  of  the  things 
“from  which  the  soul  draws  nourishment”? 

Frederick  W.  Gookin. 


-21- 


;or:  ■'  jvL.  l^froto;-"  o  1  r’i  to 

s'  ,  ; 03023X16"'  {!>"-"■  +r»cl)  Hoi  oIXOiOS  :tiO  n 

«j ;  '  orb/  rt3f;:  >fit  i  ;  api "  t -'x/  Jjitrr  '£  3ifii  ibrx  &fi 

, ,  rj  '  }  VIXil  Of  '  i  -  t*  ;  ■ 1 

Jo  o’rrj-  ;rt  Iftil  orlt  axiio//  ibd>  btdt  i;.  223brlt  ...oria 

ibbiil  bluorfa  ;  ic  tbrl)  lo  awf^oao"!  ia‘'"n).7  vti)  . rU.'.i'xr  a  oiodi 

rib  ■:  .  ■  Ml  brs  3163  - 

.rtirfi  or!)  \o  ;  x.  tci  orI+  nf  rbirft  iriq  -'Ibarraas  ?  '  '■>:«- 

lJ'Xii3nirf''  •«  x’iv.'Bib  fi  .  ’V‘ 

,/it:-iOOt)  X'Hflr-Ka^.  .  •  It  CgOSI 


I 


v  >oc- 


-rs  - 


CATALOGUE. 


HISHIKAWA  MORONOBU. 

This  eminent  artist,  who  may  be  considered  as  the  father  of 
pictorial  printing  in  Japan,  was  born  at  Hoda  in  the  province  of 
Awa,  a  small  village  situated  about  thirty  miles  from  Yedo,  across 
the  bay.  The  date  of  his  birth  is  not  certainly  known.  It  was 
probably  in  the  year  1625,  though  it  may  be  that  1638,  the  year 
named  by  some  writers,  is  correct.  He  was  named  Kichibei,  by 
which  appellation  he  was  familiarly  known  to  his  family  and 
friends,  and  Moronobu,  by  which  name  he  was  known  to  the 
world  at  large.  Herb  it  may  be  noted  that  the  complicated 
structure  of  Japanese  names  is  a  source  of  much  confusion,  which 
is  the  more  troublesome  from  the  fact  that  the  characters  with 
which  they  are  written  can  be  read  with  either  Chinese  or  Jap¬ 
anese  pronunciation. 

Moronobu’s  father,  who  died  in  1662,  was  Hishikawa  Kichi- 
zaemon  Michishige,  known  also  in  his  later  years  as  Kochiku 
(not  Mitsutake,  as  it  may  be  read),  a  celebrated  embroiderer, 
who  was  also  a  clever  painter  and  designer.  Under  his  tutelage 
Moronobu  became  proficient  in  the  handicraft  and  in  the  art  of 
designing  for  it.  Before  his  father’s  death  he  moved  to  Yedo, 
where  for  a  time  he  is  said  to  have  worked  as  an  embroiderer. 
It  was  not  long  before  he  began  (o  draw  designs  for  book  illus¬ 
trations  in  the  style  of  the  new  Popular  School,  and  thencefor¬ 
ward  he  appears  to  have  devoted  himself  chiefly  to  painting  and 
making  designs  for  wood  engraving.  His  training  gave  him 
remarkable  skill  in  the  arrangement  of  pattern  and  ability  to 
secure  richness  of  effect  with  simple  means.  This  was  precisely 
what  was  necessary  to  develop  the  art  of  wood  engraving,  which, 
under  his  direction,  made  notable  progress  during  his  lifetime. 
He  designed  illustrations  for  more  than  thirty  books,  besides  nu¬ 
merous  single-sheet  prints,  and  also  executed  a  large  number  of 
paintings.  In  the  year  1694  he  “shaved  his  head,”  i.  e.,  assumed 
the.  aspect  of  a  Buddhist  priest,  and  took  the  name  of  Yuchiku. 
His  death  occurred  early  in  the  following  year,  as  appears  from 
the  preface  and  appendix  (quoted  by  Barboutau)  to  “Sugata-e 
Hyakunin  Isshu,”  published  in  May,  1695,  for  which  he  drew 
the  illustrations. 


—23— 


HISHIKAWA  MORONOBU. 

1.  AN  INTERRUPTED  EMBRACE. 

Not  signed.  About  1678.  Sumi-e.  Size  10y£xl5.  Lent  by  Clarence 
Buckingham. 

A  girl  coming  from  behind  a  screen  interrupts  a  young  man 
making  love  to  a  tsuzumi  player.  Note  with  what  certainty  the 
lines  of  the  composition  are  interwoven  without  becoming  in¬ 
volved  at  any  point.  Prints  by  Moronobu  in  this  condition  are 
very  rare. 

2.  A  PICNIC  PARTY. 

Not  signed.  About  1686.  Sumi-e.  Size  11x16$^.  Lent  by  Clarence 
Buckingham. 

3.  LADY  STANDING  UNDER  A  CHERRY  TREE. 

Not  signed.  About  1790.  Hand  colored  print.  Size  22xl2$4.  Lent 
by  Clarence  Buckingham. 

An  unusually  fine  example  of  Moronobu’s  single  sheet  prints. 
The  colouring  is  done  with  freedom  yet  with  great  care,  perhaps 
by  Moronobu  himself. 


KAIGETSUDO  YASUTOMO. 

Very  little  is  known  about  the  artist  who  called  himself  Kai¬ 
getsudo  except  that  his  personal  name  was  Genhichi.  He  was 
one  of  the  most  brilliant  of  the  group  of  painters  of  the  branch 
of  the  Ukiyo-e  school  of  which  Chosun  was  the  leader.  There 
is  a  splendid  quality  in  the  sweep  of  his  line  and  the  vivacity  of 
his  pattern  that  is  unsurpassed.  Most  of  his  works  are  paintings 
of  women,  and  there  is  considerable  sameness  in  his  compositions. 
Having  attended  a  banquet  at  a  tea  house  attached  to  one  of  the 
theatres,  in  company  with  some  ladies  of  rank,  he  was  during 
the  Shotoku  period  (1711-1715)  banished  to  the  island  of  Oshima 
for  several  years,  but  was  afterward  pardoned  and  allowed  to 
return  to  Yedo.  ■  -.7 

It  is  not  entirely  clear  whether  the  name  Kaigetsudo  was 
borne  by  more  than  one  man.  The  signatures  to  the  few  Kaiget- 
-sudo  prints  that  are  known  have  several  variations,  but  for  the 
most  part  bear  also  other  names  designated  as  Mappa  (“later 
leaves,”  that  is  to  say,  pupil).  We  do  not  know  therefore 

— -24— 


"a. 

|fcU  3 

~  \ 


'  ,  .y  4  • 

•'  r7w*  -*■  r  m 

i;"  ^  ii  >*.-7’  &'•',•  ■  , 

ps?.r?-  M~ 

4i/ 

■  „<  %■  / .  'TVv  _.■*'■  / 

■  '/'4  ’•,!>’  4  *S*/  *i/ 

NO.  6l 

Toyonobu 

•.<?SW  •  '  7.  *  '3  .,  ’  -;  Sv  jfenH 


HI5B»KA.rVA  MORONOIIV. 

X.  AN  INI  ERJR1JPTED  EM  BE  ACE 

Nit  «gT. .  •?.  Abce.t  16WL  •  Soml-e.j-  .Sf  t  40 N.iI5  twr 

BurJdnghaa 

A  gill  coming  from  behind  a  scxc<\:  imcrrupts 
making  love  to  a  ivtzumi  player.  Note  w>th  wh  1 
Knes  of  the  composition  si-  interwoven  without  : 
■solved  at  any  point.  Prints  by  Moronabu  in  thi  :• 


?.  A  PIC  NIC  PARTY; 

signed.  About  t0%  ti  Sue  itxlCj-S-  Lonr ! 
CjciduvhHtn  ■ 


7  Clarence 

:ng  mail 

•  i  ’  •’  •  nty  the 

■*c  jon  are 


LADY  SI  AN  DING  IE 


Not  ;  !.:W*S.  Al»tu.l790  h  iiui  K-:  ;rf6  ;i- 
by  Clarence  Boekic^bain. 

id  yOYl 

The  colouring  is  done  frith 
by  fvioro.ooLt;  himself. 


ucfortdvoT 


bif 


single  sheet  prims 
great  two ,  pm  hj.pt> 


KATGETS UDC  YASUTY A ; A  a 

>  'V  little  ■■'I*  ...am  abbot  the  artist  who  calk.:  ?  !Cj:- 

gec'-T  «  7.  wpt  that  Si>  personal  name  was  f'ienh: *{».  IT  •vaa 
>i:  •  i  the  most  hrifS&nt  of  the-  group  of  pem?.i  •■, >.  of  ytl*  * 

■i  t’  Ykiyo-e  school  of  which  Chosun  .vas  ?;:e  1-aCir. 

’.iy  m  ■:  .  I  ■  ’int  a  ■  ■  ■  y  of 

hi'-  pit?:1  .  thre  is  tinStirpass;  1  Moat  of 'his  works, are  *drV  tings 
<  •  roMfii.  -in-.;  Cure  h  coiiaiCicrable  sameness  in  his  tax:  ;.  c  •-?•».. 
Having  a».*:ejjd,ed  a  bar;  i net  at  a  tsa  house  attached  to  -re  .  f  the 
the.. ires,  in  rompar.v  with  some  udk.  i  r  -•  A  he  was  during 
the  Shotoku  period  0  711-1715)  bv.xi?u<  ,  '6  die  .  33d  <  f  Osh  in -.a. 
1  r  several  years,  but  was  afterward  pot  C  ok!  -  Plowed  to 
if. tar  1  to  Vede.  . 

It  ><!  no;  entiril;,  -rear  wh  \c  n.  •.  Aaig.-tiudo  was 

home  by  more  th.it;  o-te  man.  The  signatures  to  the  •  tv  Kiuget- 
.vido  inf  that- are  mow  a  ‘at .  .several  variations,  :■  •  r 

most  part  bear  aho  <wber  designated  a*  -i  *  ‘  1  ■’ 

kavi  ,'v  that  I  to  sav.  pupil';.  We  do  10  kn<w*  »??■?*■"  .- 

—•34— 


\ 


kaigbtsudo  yasutomo. 


whether  Yasutomo  (Anchi),  and  Takuhan  are  other  names  of 
Kaigetsudo,  or  the  names  of  his  pupils  and  followers. 

4.  BIJIN  (BEAUTIFUL  WOMAN). 

Signed:  Nihon  Kyoga  Kaigetsudo  Mappa  (pupil)  Yasutomo. 
Size  Lent  by  Clarence  Buckingham. 

Stamp:  Yasutomo.  Publisher:  Maruhachi.  About  1710.  Sumi-e. 


TORII  KIYONOBU. 

This  artist,  whose  personal  name  was  Torii  Shobei,  was  a 
son  of  an  Osaka  artist  named  Torii  Shokichi  Kiyomoto.  The 
date  of  his  birth  is  given  by  the  compiler  of  the  Hayashi  cata¬ 
logue  as  1664,  and  he  is  said  to  have  lived  for  awhile  at  Kyoto 
before  he  removed  to  Yedo,  sometime  during  the  Genroku  period 
(1688-1703).  He  was  distinguished  for  his  vigorous  designs 
and  powerful  brush  work,  and  soon  made  himself  famous  by 
painting  large,  pictures  of  actors,  upon  the  kamban  or  signs,  which 
were  sorrie  five  Or-  six  feet  in  height  and  forty  or  fifty  feet,  or 
even  more,  in  length,  for  the  exteriors  of  the  four  leading  the¬ 
atres  of  theShogun's'  capital.  He  also ‘took  up  the  designing  of 
single  sheet  prints  and  illustrated  books,  .which  Moronobu’s  suc¬ 
cessors  had  for  the  most  part  abandoned.  These  gave  him  wide 
celebrity  t  which: Was  shared  by  his  brother  Torii  Kiyomasu,  who 
appears  to  have  occupied  a  studio  with  him  in  Naniwa-cho.  Ac¬ 
cording  to  the  compiler  of  the  Hayashi  catalogue,  Kiyonobu  died 
in  1729  at  the  age  Of  66.  I:f  this  is  correct,  then  a  large  number 
of  prints/ signed  “Torii  Kiyonobu,”  which  are  clearly  of  later 
date,  must  be  by  another  hand,  perhaps  that  of  a  son  of  the  same 
name,  or,  it  may  be,  by  Kiyomasu,  who  is  said  to  have  used  the 
name  Kiyonobu  after  his  brother’s  death.  Kiyonobu  was  the 
elder  of  the  two  and  was  considered  the  founder  of  the  Torii 
school,  which  made,  a' specialty  of  theatrical  work. 

.OIO'/TJ'IIH  AV/AOIT8  OX  .  U2T  AM  I HD  I  A  WAD 
5.-  THE  ACTOR  NAKAMURA  KIYOSABURO  AS  A 
YOUNG  WOMAN  HOLDING  A  BOOK.  • 

Signed  Torii  Kiyonobu.  Stamp:  Kiyomasu.  Publisher:  Komatsu- 
ya.  About  1715.'  Tan-e.  .  Size  21^x12^2.  Lent  by  Clarence  Buck- 
/  ingharn.  r  r-y.  ' 

A  splendid  specimen  of  thfe  largd  tan-e,  now  eitremely  rare. 
The  circumstance  that  the  stamp  reads  Kiyomasu,  points  to 
the  joint-  :nse  of  the  same-  studio  by-  Kiyonobu'  and  Kiyomasu. 

■^-25- 


KIYONOBU. 


Possibly  Kiyonobu  impressed  his ,  brother’s  stamp  by  mistake 
instead  of  his  own,  upon  the  original  drawing.  The  seal  char¬ 
acters  for  the  two  names  differ  by  one  stroke  only. 

6.  WOMAN  SEATED  UPON  A  CHERRY  TREE. 

Not  signed.  About  1715.  Small  tan-e  of  the  size  known  as  hosoe. 
12x5.  Lent  by  J.  Clarence  Webster.  -  :  ■>£  '• 

7.  THE  ACTORS  SANNOGAWA  ICHIMATSU  AND 
NAKAMURA  KIYOSABURO.  * 

Signed  Torii  Kiyonobu,  hitsu.  Publisher ;  Emi-ya.  About  1718. 
Urushi-e.  Size  Ilj4x5j4.  Lent  by  Clarence  Buckingham. 

An  example  of  the  earliest  style  of  urushi-e. 


8.  SCENE  FROM  A  DRAMA:  SANNOGOWA  ICHI¬ 
MATSU  AS  MARITA  JUN-NO-SUKE,  AND  SAWA- 
MURA  SOJURO  AS  NAGOYA  SANZABURO. 

Signed:  Torii  Kiyonobu  hitsu.  Publisher:  Nakajima-ya.  About 
1743.  Beni-e.  Size  12l4x6.  Lent  by  Frederick  W.  Gookin. 

ons  en,  ad;  io  aril  toi  ,rhpnai  ni  ,o  to:n  nm 

g.  THE  ACTORS  OTANI  HIROZO  AND  SANNOGAWA 
ICHIMATSU:  SCENE  FROM  THE  DRAMA  “SOGA 
NO  GORO”. 

Signed:  Torii  Kiyonobu,  hitsu.  Publisher:  Igaya.  About  1745. 
Beni-e.  Size  1214x6.  Lent  by  Clarence  Buckingham. 

io.  SCENE  FROM  A  DRAMA:  NAKAMURA  SUKE- 
GORO  AS  DAIDOJI  TAHATA  NO  SUKE,  AND 
BANDO  HIKOSABURG  AS  ARAKI  SAEMON. 

Signed:  Torii  Kiyonobu,  hitsu.  Publisher:  Nakajima-ya.  About 
1746.  Beni-e.  Size  1214x6.  Lent  by  Clarence  Buckingham. 

v  r  mol  sdi  I -mb;  'oo  ?ev/  h;i£  owi  arp  to  -abb 

n.  SCENE  FROM  A  DRAMA?  THE  ACTORS  SANNO¬ 
GAWA  ICHIMATSU  AND  SEGAWA  KIKUNOJO. 
Signed :  Torii  Kiyonobu,  hitsu.  About  1748.  Beni-e.  Size  12l4x6. 
Lent  by  J.  Clarence  Webster.  r  T0 ' 1  /.  A  1 4 -GY"  K  V 

■  :c'A  :  -isrfetkfuT  .nssmovDI  :qructS  .udonoyrX  rhoT  t: 

12.  SCENE  FROM  A  DRAMA:  ARASHI  KOROKU  AS 
MAKOMONO  MAI  AND  ICHIMURA  UZAEMON 
AS  TAIRA  NO  KQREMQdHIo  nrnbar  bibrw.' 

Signed:  Torii  Kiyonobu,  hitsu.  Publisher:  Kamimura.  About 
1748.  Bpni-e.  Size  1 2j4x6.  <  Lent  by  G^rence  Buckingham. 

-26- 


KIYONOBU. 


13.  THE  ACTOR  ICHIMURA  KAMEZO  AS  SOGA  NO 
GORO. 

Signed:  Torii  Kiyonobu,  hitsu.  Publisher:  Nakajima-ya.  About 
1749.  Beni-e.  Size  12*4x6.  Lent  by  Clarence  Buckingham. 

The  softness  and  brilliance  of  the  colour  attests  the  growing 
skill  on  the  part  of  the  printers. 


14.  THE  ACTOR  NAKAMURA  KIYOSABURO  AS  TAI- 
YU  TAKASAGO. 

Signed:  Torii  Kiyonobu,  hitsu.  Publisher:  Maruyama.  About 
1752.  Beni-e.  Size  12%x524.  Lent  by  J.  Clarence  Webster. 

The  object  in  the  actor’s  hand  is  a  miniature  shrine. 


TORII  KIYOMASU. 

Though  it  has  been  supposed  that  Kiyomasu  was  a  son  of 
Torii  Kiyonobu,  it  is  almost  certain  that  he  was  his  younger 
brother,  born  about  1679.  He  died  at  the  age  of  83  in  Horeki 
(1762).  His  work  is  scarcely  distinguishable  from  that  of 
Kiyonobu,.  either  in  design  or  in  the  sweep  and  force  of  the  brush 
strokes. 

15.  WOMAN  HOLDING  BABY  BOY  AND  A  TOY  LAN¬ 
TERN. 

Signed:  Torii  Kiyomasu.  Stamp:  Kiyomasu.  Publisher:  Naka¬ 
jima-ya.  About  1710.  Sumi-e.  Size  22%xl2.  Lent  by  Clarence 
Buckingham. 

Here  the  vigorous  brush  strokes  echo  those  of  Kaigetsudo, 
but  are  .based  upon  the  work  of  the  Kano  masters.  It  was  prints 
of  this  sort  that  the  Yedo  samurai  regarded  as  inexpressibly  vul¬ 
gar  in  style  from  the  point  of  view  of  artistic  merit. 

.  . 

.mr.rignt/bna  sannifiD  vd  tr»J  .dxNSi  A-T 

16.  BIJIN  (BEAUTIFUL  WOMAN). 

Signed Torii  Kiyomasu.  Stamp:  Kiyomasu.  Publisher:  Iga-ya. 
About  1710.  Tan-e;  Size  22)4x12.  Lent  by  Clarence  Buckingham. 
The  style  of  'Kaigetsudo  is  imitated  very  closely  in  this  print. 

17.  THE  ACTORoIWA-I  AS  A  SAMURAI. 

Signed:  Torii  Kiyomasu,  hitsu.  Publisher:  Ise-ya.  About  1720. 
Sumi-e  with  a  little  hand  coloring.  Size  1324x6%.  Lent  by 
Clarence  Buckingham. tot-  ,70l  r  or  0  ’  J  -.fir  .i1:  .  L  0 

—27— 


KIYOMASU. 


18.  THE  ACTOR  SANNOGAWA  ICHIMATSU  IN  A  FE¬ 
MALE  ROLE. 

Signed:  Torii  Kiyomasu,  hitsu.  Publisher:  Iga-ya.  About  1715. 
Tan-e.  Size  2^4x12^.  Lent  by  Clarence  Buckingham. 

This  print  was  clearly  designed  for  colouring  by  hand,  as  is 
shown  by  the  absence  of  solid  masses  in  the  black. 


19.  ACTOR  IN  A  FEMALE  ROLE. 

Signed:  Torii  Kiyomasu,  hitsu.  Publisher:  Iga-ya.  About  1718. 
Urushi-e.  Size  11^4x6f4>  Lent  by  Clarence  Buckingham. 

The  effect  obtained  by  glazing  tan  with  thin  lac  and  blowing 
over  its  sticky  surface  metallic  powder  through  a  small  bamboo 
tube  was  often  very  rich. 


20.  PORTRAIT  OF  AN  ACTOR. 

Signed:  Torii  Kiyomasu,  hitsu.  Publisher:  Wurukogata-ya.  About 
1725.  Urushi-e.  Size  12^x534.  Lent  by  J.  Clarence  Webster. 

;o  j  '  •;!  :ii; -  j:  7  yy\,  .(soTl  ) 

21.  SEGAWA  KIKUNOJO  AS  KIYOHIME  IN  THF 
DRAMA  “MUSUME  DOJOJI”. 

Signed:  Torii  Kiyomasu,  hitsu.  Publisher:  Nakajima-ya.  About 
1744.  Beni-e.  Size  12j4x6.  Lent  by  Frederick  W.  Gookin. 

Here  the  green  and  the  beni  have  been  changed  to  two  tones 
of  buff. 


22.  THE  ACTORS  TOMAZAWA  SAIJIRO  AND  ICHI- 
MURA  UZAEMON  IN  THE  DRAMA  “MYOJIN  ON- 
NEN  FUTAI  KAGAMI.” 

Signed:  Torii  Kiyomasu,  hitsu.  Publisher:  Nakajima-ya.  About 
1745.  Beni-e.  Size  12 J4x6.  Lent  by  Clarence  Buckingham. 


23.  SCENE  FROM  A  DRAMA:  THE  ACTORS  TOMA¬ 
ZAWA  SAIJIRO,  -OTANI  ONIJI,  AND  SEGAWA 
KIKUNOJO. 

Signed:  Eshi  (painter)  Terii.  Kiydma'stt,  hitsu.  Publisher!  Wurti- 
kogata-ya.  .  About  1747.  Beni-^.  Size;  12^x6.  Lent .  by  Clarence 
Buckingham. 

Here  the  beni  has  turned  to  a  low-toned  yellow. 

—28-— 


EIYOMASU. 


24.  SCENE  FROM  A  DRAMA :  ARASHI  TOMI-NO-SUKE 
AS  TARUI  OSEN  AND  OTANI  HIROJI  AS  WASHI- 
NO-CHOKICHI. 

Signed :  Torii  Kiyomasu,  hitsu.  Publisher :  Iga-ya.  About  1747. 
Beni-e.  Size  12^x6.  Lent  by  Frederick  W.  Gookin. 

25.  SUSA-NO-MIKOTO  KILLING  THE  EIGHT-HEADED 
DRAGON. 

Signed:  Torii  Kiyomasu,  hitsu.  Publisher:  Kamimura  Kichiemon. 
About  1747.  Beni-e.  Size  12j4x6,  Lent  by  Clarence  Buckingham. 

To  understand  this  print  some  knowledge  of  the  lunar  cal¬ 
endar  in  use  in  old  Japan  is  necessary.  The  beginning  of  the 
year  was  determined  by  astronomical  calculation,  and  New  Year’s 
day  was  a  festival  which  might  fall  at  any  time  between  the  first 
of  January  and  the  last  of  February  according  to  the  Gregorian 
calendar.  The  years  were  grouped  in  periods  or  cycles ;  each  had 
its  zodiacal  sign  and  was  also  distinguished,  as  positive  or  nega¬ 
tive.  The  months,  which  had  no  names,  being  known  by  num¬ 
bers  only,  were  designated  as  large  or  small,  according  to  whether 
they  consisted  of  thirty  or  twenty-nine  days.  As  the  sequence  of 
the  large  and  small  months  varied  from  year  to  year,  the  neces¬ 
sity  for  some  sort  of  a  calendar  will  be  apparent. 

In  this  print  we  have  a  “little  calendar”  for  the  year  1748, 
probably  made  to  order  for  some  literary  man  to  distribute  to 
his  dilettante  friends  at  New  Year’s  time.  An  inscription  in 
beni,  now  faded  to  a  pale  yellow,  reads:  Enkyd  Go  Boshin 
Tsuchi-no-e  Dai-  Slid,  that  is,  the  large  and  small  months  of  the 
dragon  year,  Enkyo  fifth  (the  same  as  Kan-en  first).  Then  in 
black  appear  a  series  of  combination  characters,  which  only  schol¬ 
ars  could  read,  signifying  “First  small,  Second  large,”  and  so  on. 
There  being  thirteen  moons  in  this  year,  there  are  in  consequence 
two  tenth  months,  one  designated  as  “uro.” 

As  appropriate  to  a  dragon  year,  the  artist  illustrates  the 
well-known  story  of  the  killing  of  the  eight-headed  dragon  which 
was  overcome  when  it  became  intoxicated  through  drinking  sake 
conveniently  placed  in  eight  large  jars. 

S>:i2  .tneri  vd  fsioJov  .dKf  -.to  t/  bs/rai- 

*  *  '  M *  T  ‘ 

26.  THE  ACTOR  SANNOGAWA  ICHIMATSU  AS  KUTO 
INU  FUSAMARU. 

Signed r.  Tdffi  Kiyomasu,  ga.  Publisher:  Maruyama.  About 
1750.  Beni-e.  Size  12j4x5^.  Lent  by  J.  Clarence  Webster. 

-29— 


OKUMURA  MASANOBU. 

Besides  Kiyonobu  and  Kiyomasu,  there  was  in  Yedo  in  the 
early  years  of  the  seventeenth  century  another  print  designer 
of  nearly  if  not  quite  equal  power,  and  in  some  qualities  their 
superior, — Okumura  Masanobu.  He  was  a  pupil  of  Kiyonobu, 
and  was  only  a  few  years  younger  than  Kiyomasu,  whom  he  out¬ 
lived  more  than  two  decades.  His  name  was  Okumura  Gen- 
pachi  Masanobu,  besides  which  he  had  several  studio,  or  “brush 
names,”  as  Hogetsu-do,  Tanchosai,  Bunkaku,  and  Kanmyo,  and 
he  was  commonly  known  as  Honya  (bookseller)  Genpachi,  from 
the  fact  that  he  was  his  own  publisher  and  kept  a  book  and  print 
shop  at  the  sign  of  the  red  gourd  in  Tori-shio  cho.  He  is  reputed 
to  have  been  the  first  to  colour  prints  with  beni,  and  to  have  been 
the  originator  of  the  pillar  print  which,  in  the  houses  of  the  com¬ 
mon  people,  took  the  place  of  the  elaborate  hashirakake,  or  pol¬ 
ished  and  decorated  strips  of  beautiful  wood  used  to  hang  upon 
the  posts  in  the  houses  of  wealthy  people  of  the  upper  classes. 
Masanobu  is  said  to  have  been  born  in  1685  and  to  have  died  in 
1764,  just  on  the  eve  of  the  great  revolution  in  colour  printing 
inaugurated  by  Harunobu. 

27.  GIRL  SEATED  ON  A  SHOGI  (wooden  bench). 

Signed:  Okumura  Masanobu  zu.  Stamp:  Masanobu.  Publisher: 
Komatsu-ya.  About  1715.  Tan-e.  Size  22x13.  Lent  by  Clarence 
Buckingham. 

A  remarkable  example  of  Masanobu’s  early  work.  The 
strokes  are  clean  and  supple  but  not  so  strong  as  in  his  later  de¬ 
signs.  The  round  fan  in  the  girl’s  left  hand  has  a  puzzle  picture 
upon  it,  to  which  she  is  pointing  with  a  tortoise  shell  hairpin  held 
in  her  right  hand. 

28.  THE  BIRD  CATCHERS. 

Not  signed.  About  1715.  Sumi-e.  Size  11x15.  Lent  by  Frederick 
W.  Gookin. 

On  the  bank  of  a  small  stream  a  samurai  and  two  attendants 
are  catching  birds  with  bamboo  poles  tipped  with  bird  lime. 

29.  THE  MAN’S  SHADOW  ON  THE  SHOJI. 

Not  signed.  About  1716.  Sumi-e,  slightly  colored  by  hand.  Size 
1024x10.  Lent  by  J.  Clarence  Webster. 

30.  SIGNING  THE  SCREEN. 

Signed:  Okumura  Masanobu,  hitsu.  About  1717.  Sumi-e.  Size 
10x15.  Lent  by  Frederick  W.  Gookin. 

—30— 


OKUMURA  MASANOBU. 


In  the  figure  of  the  artist  signing  his  name  to  the  screen  we 
probably  have  a  caricature  of  Masanobu  drawn  by  himself.  At 
the  right  a  young  man  and  woman  watch  the  performance.  A 
touch  of  humor  will  be  found  in  the  size  of  the  brush,  which  is 
much  too  small  to  write  such  large  characters. 

31.  GEISHA  ENTERTAINING  TOSHITOKU  (FUKURO- 
KU- JU )  AND  DAIKOKU. 

Not  signed.  About  1717.  Sumi-e.  Size  10x15.  Lent  by  Frederick 
W.  Gookin. 

Upon  the  balcony  of  a  tea.  house  by  the  sea  a  geisha  sits  play¬ 
ing  upon  a  samisen,  while  before  her  are  two  of  the  so-called 
"Gods”  of  good  fortune  ( Shichi  fuku  jin)  drunk  with  sake. 
Daikoku  leaning  forward,  permits  a  maid  to  stand  upon  his 
back  in  order  to  place  a  small  lacquer  table  with  sake  bottles  on 
Toshitoku’s  tall  head. 


32.  WOMAN  ENTERTAINING  TWO  SHOjO.. 

Not  signed.  About  1720.  Sumi-e.  Size  10x15.  Lent  by  Frederick 
W.  Gookin. 

Shojo  are  mythical  red-haired  men,  supposed  to  live  on  the 
sea-shore.  Their  one  weakness  is  uncontrollable  fondness  for 
sake  (rice  beer).  In  this  print  a  woman  is  shown  plying  them 
with  that  beverage,  from  a  huge  jar  beside  which  she  sits. 

33.  ACTOR  OF  THE  NAKAYAMA  LINE. 

Signed :  Nihon  Gako  Okumura  Masanobu,  hitsu.  About  1725. 
Urushi-e.  Size  13^2x6%.  Lent  by  Frederick  W.  Gookin. 

This  is  an  advertisement  of  Okumura’s  shop  in  Tori-Shio  cho, 
where  at  the  sign  of  the  red  gourd,  “beni-e  and  esagashi-e  (puz¬ 
zle  pictures)  may  be  had  at  wholesale.” 


34.  TWO  ACTORS  UNDER  A  WISTARIA  ARBOR, 
PLAYING  UPON  SAMISEN. 

The  signature  at  the  bottom  of  the  print  has  been  trimmed  off. 
About  1720.  Urushi-e.  Size  12yix6.  Lent  by  John  H.  Wrenn. 

In  this  exquisite  composition  Masonobu  displays  skill  of  the 
highest  order.  It  must  be  classed  among  his  finest  works. 

— 31 — 


OKUMURA  MASANOBU. 

35.  A  SUDDEN  SHOWER  AT  A  MAPLE  PICNIC. 

Not  signed.  About  1722.  Urushi-e.  Size  13x1614.  Lent  by  Clar¬ 
ence  Buckingham. 

A  young  man  shields  a  girl  with  a  cloak  raised  upon  his  sword 
hilt.  This  is  an  exceptionally  beautiful  example  of  the  so-called 
lacquer  print. 


36.  USHIWAKA  BEGUILING  THE  PRINCESS  JORURI- 
HIME. 

The  signature,  which  was  on  the  margin,  has  been  trimmed  off. 
About  1730.  Hand-coloured  print.  Size  ll)4xl6}4.  Lent  by  J.  Clar¬ 
ence  Webster. 

The  story  of  how  Ushiwaka  (afterward  known  as  Yoshi- 
tsune)  captivated  the  Princess  Jorurihime,  by  standing  outside 
the  palace  gate  and  playing  upon  the  flute  with  marvelous  skill, 
is  familiar  to  every  Japanese.  At  the  right  the  shoji  (sliding 
shutters)  are  pushed  aside,  disclosing  a  vista  of  several  rooms 
and  in  one  of  them  a  group  of  women.  A  wing  of  the  building 
extends  across  the  upper  part  of  the  picture ;  at  the  left  is  a 
glimpse  of  the  garden ;  and  below  is  the  gate,  before  which  stands 
a  man  playing  upon  a  flute  while  an  attendant  kneels  before  him, 
holding  one  of  his  swords. 


37.  PORTRAIT  OF  THE  ACTOR  SANNOGAWA  ICHL 
MATSU. 

Signed:  Ho  Getsudo,  Tanchosai,  Okumura  Bunkaku  Masanobu  sho 
hitsu,  Hashira  e  kongen.  Stamp:  Tanchosai.  About  1740.  Very 
tall  hashira-e.  (pillar  print).  Size  42j4x6j4.  Lent  by  Clarence  Buck¬ 
ingham. 

This  is  one  of  Masanobu’s  most  important  works.  He  signs 
as  the  originator  of  the  hashira-e,  but  whether  in  this  statement 
he  should  be  considered  as  author  or  publisher  is  not  entirely 
clear.  Probably  for  the  reason  that  they  were  mounted  as  kake¬ 
mono,  and  kept  hanging  until  entirely  discoloured,  Masanobu’s 
prints  in  this  form  are  of  extreme  rarity. 

38.  WOMAN  'READING  A  BOOK. 

Signed :  Ho  Getsudo  Hashira-e  Okumura  Bungaku  Masanobu  sho 
hitsu.  Stamp:  Tanchosai.  About  1740.  Hand-coloured  print.  Size 
27x9)4-  Lent  by  Clarence  Buckingham. 

-32- 


NO.  69 
Toyonobu 


f  SAN «RU. 

*Of’\c  SHOWER  AT  A  V  \V’L£  ?JCN'3 

«rt  tA*  Cfeirr- 

rV  -iglum. 

•li  s’‘>c  a  tnt  u-itu  «  cloak  raised  .oos 

i  nis  sword 

*  *  -C<  •  i .e  bc*iue.; Ill  *  i 

>e  .vo-calitd 

■  -.Hi”1  -=v\  LUGUiUN't  THE  i>Rf N ' 

>  '•  ' .  <•*.  she  nnraiii,  h  •  !••*•  -h  t-!-  ■  -  ,: 7. 

w.  iiW.  Hvuvj  coJcw'Ted  prinL  21**  >1;  £'£<&?&.  Le«.  *  :  •  i#r- 


palaet 


»r*»  ;•] 


; 


St' -It  rs )  are  {nttfe? 
nsui  in  one  os  them 
e  sends  acro&s  the 

t  »!)>■  tarvk 


\  (rs^erwa :  i  krso'vn  as  Ya$hi 

’c  PrV.  c  ;  Ji>srtu^bn*  !.?y  *  '*odb>?  otttNfcif 
fUvtK'  m*>t»  (He  lu  r-  M^vvr.ton--- 
Japanese’  .A?  the  n^Bf*  &♦  .•;*•/»  aIG  •* 

.  Si-V;.  dtsc-osir^;  a  .  -i  ot  ;t?v*  r  ’  room* 
9d  .om 

■r  ;• '  >.'••  •  a‘  \b-'  !.  t  ;i>  :: 

.v  f  i  .  eh  •  ■:  •'.• 

!  .»■  '••  «.  r«!’c.:  !:n  .!»  Is>  t-;font  Jims, 


•  POST#  -VtT  Gl;  TJftE  V.TOK  .£'  vNNO&AW.i  Kiftl- 

m*  rsr. 

hi  1  !■!<>  udo  1  5r*'  iiosa;,  •dt  .oaor.i  jiunkalr  Ma  ’  *  “too 

koottis  ;LSn:p:  1  .-in  -.  '. 

waO  S»e  4?;-iRi>>/5  Lenti^O  -  :  ,-b 

iS#W 

t  jii"  {?  v  -.itvfbu*?  n.  ilr.portaid  works  H*  -.^Tia 
*  •  ‘taphs/a  ■•,  ot?  fcherhr  in  thi*  ta  tenant 

>1  v  OX  et?  P:  itrthor  or  £/tst»jirHw  Is  :  tntmsly 

c-  ••:  /  ,‘or  isve  reason  thftt  they  -'if-  mounted  .£  isaLe- 

swotvo.  •  vi  k<-pt  hanging  until  entr  •-  Si?  Hc-uied,  Mssapdbijfii 

•  om!v  ;  i-uis  form  are.  oi  axtreinc.  rant  • 


SAD1NC  -  LOOK.  •  '  -  .  ' 

’•  iu*$  H’JUv'ra'?.  ok-un*  i  J  jouoh* 

v  CJ«v*a!  TiCtc&Iugmvte'  '  v 


> 


OKUMURA  MASANOBU 


39.  THE  ACTOR  ONOE  KIKUGORO  AS  GOMPACHI. 

Signed:  Ho  Getsudo  Hashira-e  Okumura  Bungaku  Masanobu  sho 
(genuine)  hitsu  (brush).  Stamp:  Tanchosai.  About  1743.  Hand- 
coloured  print.  Size  25)4xl0)4-  Lent  by  Clarence  Buckingham. 
These  large  hand-coloured  prints  continued  to  be  made  for 
several  years  after  the  invention  of  colour  printing,  which  was 
used  at  first  for  smaller  pieces  only. 

40.  OIRAN  READING  A  LOVE  LETTER. 

Not  signed.  About  1744.  Beni-e.  Size  13)4x5)4-  Lent  by  Clarence 
Buckingham. 

41.  WOMAN  HOLDING  A  BATTLEDORE  AND  A  LET¬ 
TER. 

Signed :  Ho  Getsudo  Shomyo  Okumura  Bunkaku  Masanobu  hitsu. 
Stamp:  Tanchosai.  About  1744.  Hand-coloured  print.  Size  28)4x 
10)4.  Lent  by  Clarence  Buckingham. 

The  patterns  upon  the  woman’s  kimono  is  composed  of  a 
blossoming  cherry  tree,  and  several  curtains  are  inscribed  with 
actor’s  mon  (badges)  and  names  of  patrons  of  the  theatre. 

42.  WOMAN  STANDING  AND  GIRL  SEATED  AT  HER 
FEET  READING  A  LETTER. 

Signed :  Ho  Getsudo  Shomyo  Kongen  Okumura  Bunkaku  Masa¬ 
nobu,  Sho  hitsu.  Stamp:  Tanchosai.  About  1745.  Hand-coloured 
print.  Size  25)4x8)4-  Lent  by  Clarence  Buckingham. 


43.  YOUNG  MAN  ON  HORSEBACK  BEFORE  TWO 
GIRLS  AT  A  WINDOW. 

Signed :  Ho  Getsudo  Shomyo  Okumura  Bungaku  Masanobu  sh5 
hitsu.  Stamp:  Tanchosai.  About  1747.  Hand-coloured  print.  Size 
25x9)4.  Lent  by  J.  Clarence  Webster. 


44.  THE  ACTORS  ONOE  KIKUGORO  AND  NAKAMU¬ 
RA  KIYOSABURO  AS  MUSICIANS  IN  A  KYO- 
GEN. 

Signed:  Ho  Getsudo.  Tanchosai,  Okumura  Bunkaku  Masanobu 
sho  hitsu.  Stamp:  Tanchosai.  About  1750.  Beni-e.  Size  16xllJ4- 
Lent  by  J.  Clarence  Webster. 

This  print  is  interesting  not  only  for  its  beauty,  but  because  it 
bears  an  inscription  probably  contemporary  or  nearly  so,  giving 
the  date  “Kanyen  san”  1750,  and  because  it  affords  an  extremely 

—33— 


OKUMURA  MASANOBU 


early  instance  of  a  tint  produced  by  printing  green  over  the  beni. 
This  appears  in  the  stem  of  the  kokyu,  the  musical  instrument 
played  with  a  bow. 

45.  DANCING  GIRL  WITH  A  TOY  HORSE’S  HEAD. 

Signed :  Ho  Getsudo  Okumura  Bungaku  Masanobu,  ga.  Stamp : 
Tancho.  About  1750.  Beni-e.  Size  12x5}^.  Lent  by  Frederick  W. 
Gookin. 


OKUMURA  TOSHINOBU 

This  artist  was  a  son  of  Okumura  Masanobu  and  was  asso¬ 
ciated  with  his  father  in  the  shop  in  Tori-shio-cho.  In  all  prob¬ 
ability  he  died  young.  His  work,  as  far  as  known,  consists 
chiefly  of  small  urushi-e,  which  show  skillful  draughtsmanship. 

46  ACTOR  WEARING  STRAW  HAT. 

Signed:  Yamato  Gako,  Okumura  Toshinobu  hitsu.  Publisher: 
Soshu-ya.  About  1732.  Urushi-e.  Size  13x6.  Lent  by  Clarence 
Buckingham. 

47.  THE  ACTOR  HAGI-NO  HANZABURO  AS  KEWAI- 
ZAKA  SHOJO. 

Signed:  Yamato  Gako,  Okumura  Toshinobu  hitsu.  Publisher: 
Komatsuya.  About  1733.  Urishi-e.  Size  13J46J4.  Lent  by  J.  Clar¬ 
ence  Webster. 

The  large  sake  cup  in  the  actor’s  hand  symbolizes  the  Shojo’s 
fondness  for  rice  beer. 


HANEKAWA  CHINCHO 

This  artist,  beloved  by  the  Japanese  for  the  esoteric  quality 
of  his  works,  was  a  samurai  of  Kawaguchi,  near  Yedo,  who  be¬ 
came  a  ronin  and  entered  the  studio  of  Kiyonobu.  He  was  an 
erratic  person,  worked  when  he  felt  like  it,  and  scorned  a  pub¬ 
lisher’s  offer  of  permanent  support,  saying  that  poverty  was  the 
common  lot  of  the  samurai.  He  was  that  rare  thing  in  Japan, 
a  bachelor.  As  an  ode  maker  he  had  high  repute.  His  paintings 
were  sometimes  signed  Chincho  Motonobu.  His  prints  were  few 
in  number  and  are  now  extremely  rare.  He  died  on  the  22nd 
day  of  the  7th  month  of  Horeki  4  (1754),  aged  about  70. 

—34— 


HANEKAWA  CHINCHO 


48.  ACTOR  SEATED  UPON  A  LION. 

Signed:  Hanekawa  Chincho  Motonobu.  About  1731.  Urushi-e. 

Size  13^4x6 Lent  by  Frank  Lloyd  Wright. 

In  placing  the  actor  upon  a  lion  (drawn  in  pronounced  Chi¬ 
nese  style)  Chincho  parodies  the  Bodhisatva  Monju,  who  is  al¬ 
ways  represented  riding  upon  an  elephant. 

Upon  a  jar  in  the  foreground  appear  the  marks  of  the  pub¬ 
lishing  houses,  Wurukogata-ya  and  Tsuru-ya. 


YOSENDO  YASUNOBU  (or  ANSHIN) 

Nothing  is  known  about  this  artist.  The  signature  may  be 
an  unusual  studio  name  of  some  artist  of  repute.  The  few  prints 
bearing  it  are  of  such  quality  as  to  lend  plausibility  to  this  sup¬ 
position. 

49.  ACTOR  AS  A  FAGGOT  GATHERER  LEADING  A 
CARABOU. 

Signed:  Yosendo  Yasunobu  (or  Anshin).  About  1730.  Urushi-e. 
Size  13^2x6^4-  Lent  by  J.  Clarence  Webster. 

NISHIMURA  SHIGENAGA 

Nishimura  Magosaburo  Shigenaga,  known  also  by  the  studio 
name  Senkado,  was  the  son,  born  in  1697,  of  an  eccentric  artist 
named  Nishimura  Shigenobu.  Though  Shigenaga  was  a  man  of 
decided  ability  and  must  be  counted  as  one  of  the  foremost 
Ukiyo-e  artists  of  his  time,  his  designs  are  for  the  most  part 
more  complicated  and  have  less  dignity  and  grandeur  of  line 
than  those  of  the  Torii  artists.  He  is  said  to  have  kept  a  tea 
house  in  Tori-Abura-cho,  and  afterward  to  have  moved  to  the 
part  of  Yedo  know-n  as  Kanda,  where  he  became  a  publisher. 
Through  his  many  pupils,  several  of  whom  were  among  the  most 
important  figures  in  Ukiyo-e,  he  exercised  marked  influence  upon 
the  development  of  the  school.  His  death  is  said  to  have  oc¬ 
curred  in  1756. 

50.  YOUNG  SAMURAI  AND  A  GIRL  WITH  AN  UM¬ 
BRELLA. 

Signed:  Nishimura  Shigenaga,  hitsu.  Publisher:  Iga-ya.  About 
1725.  Urushi-e.  Size  11^4x6j4.  Lent  by  Clarence  Buckingham. 

—35— 


NISHIMURA  SHIGENAGA 


51.  THE  BIJIN  KINKO. 

Signed :  Nishimura  Shigenaga,  hitsu.  Publisher :  Iga-ya.  About 
1725.  Urushi-e.  Size  1154x654.  Lent  by  Clarence  Buckingham. 

Kinko  (in  Chinese,  Kinkao),  one  of  the  Rishis,  or  sages,  of 
the  Taoists,  having  long  absented  himself  from  the  haunts  of 
men,  reappeared  riding  upon  the  back  of  a  huge  carp  as  it  leaped 
from  the  water.  The  substitution  of  bijin  (beautiful  women)  for 
sages  was  a  form  of  pleasantry  much  indulged  in  by  the  artists 
of  the  Popular  School. 


52.  DANCING  GIRL  WITH  A  MONKEY. 

Not  signed.  Probably  1728.  Hand-coloured  print.  Size  1254x6. 
Lent  by  Frank  Lloyd  Wright. 

The  Chinese  characters  upon  the  girl’s  clothing  are  those  for 
the  signs  of  the  zodiac. 

53.  FUKUROKUJU. 

Signed :  Nishimura  Shigenaga,  hitsu.  About  1731.  Urushi-e.  Size 
1254x6.  Lent  by  J.  Clarence  Webster. 

Fukurokuju,  one  of  the  group  known  as  the  Seven  House¬ 
hold  Gods,  stands  for  wisdom,  but  also  symbolizes  longevity.  His 
attributes  are  a  preternaturally  tall  head,  a  crane  (one  of  the 
symbols  of  longevity),  a  staff  and  a  makimono.  His  identity 
is  hopelessly  confused  with  that  of  Juro  or  Jurojin  (Toshitoku). 

54.  ACTOR  HOLDING  A  FAN. 

Signed:  Nihon  Gako  Nishimura  Shigenaga,  hitsu.  Stamp:  Shi¬ 
genaga.  About  1732.  Urushi-e.  Size  1154x6 54-  Lent  by  Frank 
Lloyd  Wright. 

Especially  in  the  patterns  upon  draperies  Shigenaga  shows 
marked  individuality.  This  is  a  fine  example  of  his  work. 


ISHIKAWA  TOYONOBU 

Foremost  among  the  Ukivo-e  artists  of  the  middle  of  the 
seventeenth  century  was  Ishikawa  Toyonobu.  He  was  born  in 
the  year  1711,  and  is  said  to  have  been  a  remarkably  handsome 
man.  While  a  pupil  in  the  studio  of  Nishimura  Shigenaga  he 
was  so  greatly  admired  by  the  daughter  of  the  proprietor  of  an 
inn  called  Nukaya,  in  Kodenma-cho,  that  a  marriage  was  arranged 


ISHIKAWA  TOYONOBU 


between  them.  (See  note  to  No.  137).  Having  thus  become 
the  inn-keeper’s  son-in-daw,  Toyonobu,  whose  personal  name  was 
Hichibei,  became  known  locally  as  Nukaya  Hichibei.  To  his 
ability  as  an  artist  the  prints  shown  in  this  exhibition  bear  wit¬ 
ness.  Though  he  lived  to  the  age  of  75,  dying  on  the  25th  of 
the  5th  month  of  1785,  his  work  as  a  print  designer  did  not  long 
continue  after  the  advent  of  the  new  style  brought  in  by  Haru- 
nobu. 

55.  WOMAN  COMING  FROM  THE  BATH. 

Signed:  Tanjodo,  Ishikawa  Shuha  Toyonobu  zu.  Stamps:  Ishikawa 
and  Toyonobu.  Publisher :  Murata.  About  1743.  Hand-coloured 
print.  Size  26*4x6%.  Lent  by  Clarence  Buckingham. 

The  grace  and  serenity  of  the  brush  strokes  in  this  print 
should  be  noted  particularly. 

56.  WOMAN  WRITING  A  LETTER. 

Signed:  Tanjodo,  Ishikawa  Shuha  Toyonobu  zu.  Stamps:  Ishikawa 
and  Toyonobu.  Publisher :  Wurukogata-ya.  About  1744.  Hand- 
coloured  print.  Size  28%x6%.  Lent  by  J.  Clarence  Webster. 

The  long  sleeves  of  the  woman’s  kimono,  three  garments 
worn  one  over  the  other,  are  so  treated  as  to  make  a  most  effect¬ 
ive  note  in  the  composition.  No  other  artist  is  more  restful 
in  his  line  arrangements  than  Toyonobu. 

57.  WOMAN  OPENING  AN  UMBRELLA. 

Signed:  Tanjodo,  Ishikawa  Shuha  Toyonobu  zu.  Stamps:  Ishikawa 
and  Toyonobu.  Publisher :  Wurukogata-ya.  About  1743.  Hand- 
coloured  print.  Size  27%x61/4.  Lent  by  Clarence  Buckingham. 


58.  WOMAN  HOLDING  A  LONG  PIPE. 

Signed:  Tanjodo,  Ishikawa  Shuha  Toyonobu  zu.  Stamps:  Ishikawa 
and  Toyonobu.  Publisher :  Wurukogata-ya.  About  1745.  Hashira-e. 
Size  28%x6%.  Lent  by  Clarence  Buckingham. 


59.  WOMAN  HOLDING  IN  HER  RIGHT  HAND  A 
ROUND  FAN  BEARING  THE  MON  OF  SANNO- 
GAWA  ICHIMATSU,  AND  IN  HER  LEFT  A 
SMALL  LANTERN. 

Signed:  Tanjodo,  Ishikawa  Shuha  Toyonobu  zu.  Stamps:  Ishi¬ 
kawa  and  Toyonobu.  Publisher :  Wurukogata-ya.  About  1745. 
Hashira-e.  Size  28%x6%.  Lent  by  Clarence  Buckingham. 

-37— 


ISHIKAWA  TOYONOBU 


The  grammar  of  the  line  arrangement  in  this  delightful  com¬ 
position  is  flawless. 

60.  THE  ACTOR  SEGAWA  KIKUNOJO  AS  A  WOMAN 
READING  A  LETTER. 

Signed:  Tanjodo,  Ishikawa  Shuha  Toyonobu  zu.  Stamps:  Ishikawa 
and  Toyonobu.  Publisher:  Wurukogata-ya.  About  1747.  Hand- 
coloured  print.  Size  2714x10.  Lent  by  Clarence  Buckingham. 

Here  also  the  composition  is  masterly,  and  worthy  of  most 
careful  study.  Toyonobu’s  tall  figures  have  a  sweetness  and 
charm  that  are  peculiarly  their  own. 

61.  BIJIN  (BEAUTY)  WITH  A  TABLET  AND  A  BACHI 
(AN  IMPLEMENT  USED  IN  PLAYING  THE 
SAMISEN). 

Signed:  Tanjodo,  Ishikawa  Shuha  Toyonobu  zu.  Stamps:  Ishikawa 
and  Toyonobu.  About  1748.  Hand-coloured  print.  Size  26x9j4- 
Lent  by  Clarence  Buckingham. 


62.  THE  ACTOR  SANNOGAWA  ICHIMATSU  AS  A 
YOUNG  GIRL  WITH  A  DOLL. 

Signed:  Tanjodo  Ishikawa  Shuha  Toyonobu  zu.  Stamp:  Toyonobu. 
Publisher :  Wurukogata-ya.  About  1750.  Beni-e.  Size  12j4x9. 
Lent  by  Clarence  Buckingham. 


63.  YOUNG  LOVERS. 

Signed:  Ishikawa  Toyonobu,  hitsu.  Publisher:  Wurukogata-ya. 
About  1751.  Beni-e.  Size  12%x5}4.  Lent  by  Clarence  Buckingham. 

64.  SCENE  FROM  A  DRAMA:  SANNOGAWA  ICHI¬ 
MATSU  AS  AKEHA  NO  CHOKICHI  AND  TSUCHI 
MONZO  AS  IZUMI  NO  JIRO. 

Signed :  Ishikawa  Toyonobu,  hitsu.  Publisher :  Sakai-ya.  About 
1753.  Beni-e.  Size  I2%x5^.  Lent  by  Frederick  W.  Gookin. 

65.  THE  ACTORS  SANNOGAWA  ICHIMATSU  AND 
ONOE  KIKUGORO. 

Signed:  Tanjodo  Ishikawa  Shuha  Toyonobu  zu.  Stamp:  Toyonobu. 
About  1755.  Beni-e.  Size  18x1034.  Lent  by  Frederick  W.  Gookin. 
The  basket  hats  carried  by  the  actors  came  down  to  the  shoul¬ 
ders  when  worn,  and  were  for  the  purpose  of  disguise. 

—38- 


ISHIKAWA  TOYONOBU 


66.  YOUNG  LOVERS  CARRYING  AN  UMBRELLA. 

Signed:  Tanjodo,  Ishikawa  Shuha  Toyonobu  zu.  Stamps:  Ishikawa 
and  Toyonobu.  Publisher:  Wurukogata-ya.  About  1757.  Beni-e. 
Size  181x12.  Lent  by  Clarence  Buckingham. 

67.  WOMAN  READING  A  LETTER. 

Signed:  Tanjodo,  Ishikawa  Shuha  Toyonobu  zu.  Stamps:  Ishikawa 
and  Toyonobu.  Publisher:  Wurukogata-ya.  About  1762.  Print 
from  three  colour  blocks.  Size  18x12.  Lent  by  Clarence  Buckingham. 

The  woman  stands  in  a  zashiki  (parlor)  before  the  tokonoma 
(recess)  in  which  hangs  a  kakemono  signed  “Ishikawa  Toyo¬ 
nobu,”  showing  Hotei  gazing  at  the  full  moon. 

The  print  designers  are  now  experimenting  with  new  colours. 

68.  YOUNG  MAN  CARRYING  A  GIRL  ON  HIS  BACK. 

Signed:  Tanjodo  Ishikawa  Shuha  ga.  Publisher:  Wurukogata-ya. 
About  1763.  Hashira-e;  from  three  colour  blocks.  Size  28x4.  Lent  by 
Frank  Lloyd  Wright. 

Toyonobu  adopted  the  new  manner  but  he  did  not  design 
many  prints  after  this  time. 

69.  WOMAN  DRESSING. 

Signed:  Ishikawa  Toyonobu,  hitsu.  About  1765.  Size  13j4x5?4. 
Lent  by  J.  Clarence  Webster. 

Nude  figures  are  seldom  met  with  in  Japanese  art.  Toyo¬ 
nobu  seems  to  have  made  more  use  of  such  subjects  than  any 
other  of  the  Ukiyoeshi. 

TORII  KIYOHIRO 

Kiyohiro  was  probably  a  son  of  Kiyomasu.  He  is  one  of  the 
prominent  figures  of  the  period  from  about  1745  to  1765,  after 
which  year  he  ceased  to  produce.  No  details  about  his  life  are 
known. 

70.  SUGOROKU  PLAYERS. 

Signed:  Torii  Kiyohiro,  hitsu.  Stamp:  Kiyohiro.  Publisher: 
Wurukogata-ya.  About  1754.  Beni-e.  Size  18x12.  Lent  by  Clar¬ 
ence  Buckingham. 

A  young  woman  with  a  pipe  in  her  hand  is  watching  another 
woman  and  a  young  man  playing  the  game  of  sugoroku  (See 
No.  109). 


-39- 


TORII  KIYOHIRO 


7 1.  THREE  ACTORS  IN  FEMALE  ROLES. 

Signed:  Torii  Kiyohiro,  hitsu.  Publisher:  Maruyama.  About  1755. 
Beni-e.  Uncut  tryptich.  Size  12x18.  Lent  by  Clarence  Buckingham. 

Actor  prints  of  the  size  known  as  hosoe  were  usually  printed 
as  triptychs,  but  were  seldom  kept  in  that  condition  and  uncut 
triptychs  are  now  extremely  rare.  The  subject  here  is  a  play 
upon  words.  Sannogawa  Ichimatsu,  the  actor  at  the  right,  is 
compared  with  the  blossoming  plum-tree;  Nakamura  Tomijuro 
is  likened  to  the  graceful  willow,  and  Nakamura  Kumetaro  is 
matched  with  the  beauty  of  the  cherry  flowers. 

72.  THE  ACTOR  SANNOGAWA  ICHIMATSU  AS  MA- 
SAKO  NO  MAI. 

Signed:  Torii  Kiyohiro,  hitsu.  Publisher:  Yamanari  ya.  About 
1755.  Beni-e.  Size  12^x5j4.  Lent  by  J.  Clarence  Webster. 

In  his  hand  Ichimatsu  holds  an  actor’s  wig. 

The  conventional  drawing  of  the  faces  by  the  print  designers 
is  sometimes  taken  to  indicate  that  the  actors  wore  masks.  That 
was  not  the  case.  Masks  were  worn  in  the  ancient  N  6  perform¬ 
ances  but  not  in  the  theatre  unless  an  actor  happened  to  have  the 
role  of  a  No  dancer. 

TORII  KIYOMITSU 

Torii  Hanzo  Kiyomitsu,  the  third  great  master  of  the  Torii 
line,  is  said  to  have  been  the  son,  born  in  1735,  of  Kiyomasu, 
but  it  would  seem  more  probable  that  he  was  a  grandson.  Be 
that  as  it  may,  he  was  recognized  in  his  day  as  the  head  of 
the  Torii  line.  His  merit  as  an  artist  has  as  yet  hardly  been 
appreciated  at  its  true  worth.  He  was  not  only  the  most  dis¬ 
tinguished  of  the  print  designers,  with  the  possible  exception  of 
Toyonobu,  during  the  decade  from  1755  to  1765,  but  he  shares 
with  Harunobu  the  honor  of  perfecting  the  art  of  full  colour 
printing.  Though  he  was  overshadowed  by  the  genius  of  Haru¬ 
nobu,  and  in  his  later  years  imitated  his  style,  it  is  not  improb¬ 
able  that  some  unsigned  prints  usually  attributed  to  Harunobu 
are  from  his  hand. 

73.  SCENE  FROM  A  DRAMA :  ICHIKAWA  YAOZO  AS 
TOKOBEI  AND  SEGAWA  KIKUNOJO  AS  OHATSU. 
Signed:  Torii  Kiyomitsu,  ga.  Publisher:  Eijudo.  About  1760. 
Beni-e.  Size  12^x5j4.  Lent  by  Clarence  Buckingham. 

—40— 


{U  3 

"t  o 


c 

o 

o' 

£ 


O 

Ch 


TO*  it 


:.'ORS  N  Pi.  K-  \.-J  ROLES. 

■'  •  .  Kiybhir®,  l-  itwii  -  /*rnv-' 

••Cat  uypncJj,  Si-'-  {£.. 

C  '  .  "i  :  ••  <gj 

■  ir  ■  ,  *  3  : 


'  - 1 


Wjotst 

-  printed 

.I’C  O  : 

.  a  !:.  -••*2  -i 

■ 

1  ■  i?  iv  V.v,  &  Nate  :  -  .  ire  - 

•  tile  Ivv-  :y  of  in-  ch  v  r\  flow." 


cj  or  \%s £&.-.*■  icHiM/VHvi 


•  j  j  *  V  .  -  ri  y  About 

■  •  -  ,  ’J';xS  I  .  ■  v;  •st,‘-sv». 

i  .•*> 4  Jn>!  !•  n  wig 


A- 


&V  f«cc<  h £  tfic  firitif  tiki 
t  *'■•■  i.  -  iff  v  r-v4< 

•>»  ra  t.n  i.a  N.f  j&tfej  h:- 

>  an  .10  ter  !ts.  ;;r>i*:d  U  m IVe  ft  «t 


te  '  • 


.*  . 


il>  It  U1<1  r,  iiC.  VYI-lS  1V< 


\  il 


» 

'  ./•  ,  : 

*»  /:<v*r  % 

v 

e  c.* 

0  £ 

,<0  :-4 

•  .  p 

ut\  in  xa 

7  •:  ; .  .M  5*.  A  fc, 

roKof 

FROM  A 

Jw]  V  •  ..  .  A  '  , 

,  >R‘. ... 
-  C,  \  \\ 

\ :  K 
fA  <’ 

.  -  1: .  <1  a 

*&'"  & 
L«ot  V 

y-Mu 

•«  Ofrpv 

?-i  ’  K-MI !  S-  • 

>  t'<  »n  .  15,  •:•  ,>  ...  1. 

*  •  •.,>'  *v  'V 

-  **  lie  te;,(  .*  . 

tr  -1. 

«  *  only  -fr  ir..  •  eiij»- 


1;  or'1  oiv?:t 


fXK’f  A 


TORII  KIYOMITSU 


74.  SCENE  FROM  A  DRAMA:  BANDO  HIICOSABURO 
AS  OMI  NO  GENGORO,  AND  MATSUMOTO  MAT- 
SUZO  AS  CHOZO. 

Signed:  Torii  Kiyomitsu,  ga.  Publisher:  Eijudo.  About  1761. 
Print  from  three  colour  blocks.  Size  12Mx5j4-  Lent  by  J.  Clarence 
Webster. 

Here  the  green  printed  over  yellow  has  changed  to  an  olive 
gray. 

75.  SCENE  FROM  THE  DRAMA  SOGA  NO  GORO : 
ICHIKAWA  RAIZO  AS  SOGA  NO  GORO  TOKI- 
MUNE,  AND  BANDO  AIZO  AS  SHOJO. 

Signed:  Torii  Kiyomitsu,  ga.  Publisher:  Eijudo.  About  1761. 
Print  from  three  colour  blocks.  Size  12*4x5^2.  Lent  by  Clarence 
Buckingham. 

76.  THE  ACTORS  ICHIKAWA  RAIZO  AND  NAKA¬ 
MURA  MATSUE. 

Signed:  Torii  Kiyomitsu,  ga.  Publisher:  Eijudo.  About  1761. 
Print  from  three  colour  blocks.  Size  12}^x5^i.  Lent  by  Clarence 
Buckingham. 

77.  BANDO  HIKOSABURO  IN  THE  ROLE  OF  ONO  NO 
YORIKAGE. 

Signed:  Torii  Kiyomitsu,  ga.  About  1761.  Print  from  three 
colour  blocks.  Size  1214x5^2.  Lent  by  Clarence  Buckingham. 

Two  reds  and  a  blue  are  effective,  but  the  range  is  limited. 

78.  THE  ACTOR  ICHIKAWA  HICHIZO  IN  THE  ROLE 
OF  TERUTE  NO  HIME. 

Signed:  Torii  Kiyomitsu,  ga.  Publisher:  Eijudo.  About  1761. 
Print  from  three  colour  blocks.  Size  12%x5j4.  Lent  by  Clarence 
Buckingham. 

Here  the  colours  are  red,  blue  and  yellow,  the  blue  being 
printed  over  yellow,  and  in  places,  over  the  beni  red,  to  pro¬ 
duce  a  purple. 

79.  SCENE  FROM  A  DRAMA:  ICHIMURA  HAZAI- 
MON  AS  NAGOYA  SANZABURO  AND  ICHIMURA 
KAMEZO  AS  A  BOY  ATTENDANT. 

Signed:  Torii  Kiyomitsu,  ga.  Publisher:  Enami.  About  1762. 
Print  from  three  colour  blocks.  Size  12%x5*4.  Lent  by  Clarence 
Buckingham. 


-41- 


TORII  KIYOMITSU 


Though  richer  effects  are  now  secured1  from  superimposed 
tints,  the  limitations  are  becoming  obvious. 

80.  SCENE  FROM  THE  POPULAR  TRAGEDY  “YAOYA 
O-SHICHI” :  SEGAWA  KIKUNOJO  AS  O-SHI- 
CHI,  DAUGHTER  OF  YAOYA  THE  GROCER,  AND 
SAKAHIYAMA  SANGORO  AS  THE  ICOSHO  (PAGE) 
KICHISABURO. 

Signed:  Torii  Kiyomitsu,  ga.  Publisher:  Wurukagata-ya.  About 
1762.  Print  from  three  colour  blocks.  Size  12%x5}4.  Lent  by  Clar¬ 
ence  Buckingham.  > 

81.  WOMAN  IN  A  GAUZE  KIMONO. 

Signed:  Torii  Kiyomitsu,  ga.  Stamp:  Kiyomitsu.  About  1763. 
Hashira-e.  Size  26}4x3J4.  Lent  by  J.  Clarence  Webster. 

This  may  be  regarded  as  one  of  Kiyomitsu’s  triumphs,  and 
one  of  the  most  beautiful  prints  produced  by  superposed  tints. 
The  drawing  resembles  that  of  Toyonobu. 

82.  SCENE  FROM  A  DRAMA:  THE  ACTORS  ICHI¬ 
KAWA  KOMAZO  AND  NAKAMURA  MATSUE. 
Signed:  Torii  Kiyomitsu,  ga.  Publisher:  Eijudo.  1764.  Size 
11%x81/2.  Lent  by  Clarence  Buckingham. 

This  is  a  very  important  print.  It  shows  one  of  Kiyomitsu’s 
early  efforts  in  the  new  manner  devised  by  Harunobu.  How  like, 
yet  how  different  is  Kiyomitsu’s  treatment!  The  embossing  to 
imitate  crepe  and  the  red  plum  blossoms  printed  under  the  blue 
upon  the  man’s  kimono,  are  unlike  anything  used  by  Harunobu. 
The  publisher,  desirous  of  being  known  in  connection  with  these 
novel  prints,  appends  his  name  instead  of  merely  the  usual  pub¬ 
lisher’s  mark. 

83.  INK  PROOF  FROM  THE  KEY  BLOCK  OF  THE 
PRECEDING. 

Lent  by  Clarence  Buckingham. 

This  shows  an  experiment  in  colouring  which  was  rejected 
as  unsatisfactory,  and  not  carried  very  far. 

84.  SCENE  FROM  A  DRAMA:  THE  ACTORS  ICHI¬ 
KAWA  KOMAZO  AND  BANDO  AIZO. 

Not  signed.  1764.  Size  11^4x8^.  Lent  by  Clarence  Buckingham. 
—42— 


TORII  KTYOMITSU 


85.  GEISHA  WALKING  IN  THE  RAIN  CARRYING  A 
TOY  SAIL  BOAT  AND  FOLLOWED  BY  A  SERVANT 
HOLDING  AN  UMBRELLA  OVER  HER. 

Not  signed.  Late  in  1764.  Size  11x7.  Lent  by  Clarence  Buck¬ 
ingham. 

This  is  a  little  calendar  for  Meiwa  ni  (1765)  made,  without 
doubt,  toward  the  end  of  the  preceding  year.  The  numbers  of 
the  months  of  1765  appear  in  white  upon  the  servant’s  kimono. 

86.  THE  ACTOR  ICHIKAWA  YAOZO. 

Signed :  Torii  Kiyomitsu,  ga.  About  1765.  Size  12%x5%.  Lent 
by  Clarence  Buckingham. 

87.  GIRL  TYING  HER  OBI. 

Not  signed.  1765.  Size  11x8%.  Lent  by  Clarence  Buckingham. 
Kiyomitsu  has  now  so  fully  mastered  the  Harunobu  manner 
that  this  print  and  its  companion  might  easily  be  taken  for  works 
by  the  latter  artist.  If  Harunobu  thought  it  unnecessary  to  sign 
his  prints  in  the  new  style,  why  should  Kiyomitsu  sign  his? 


88.  GIRL  SEATED  UPON  A  BENCH  BY  A  STREAM. 
Not  signed.  1765.  Size  11x8%.  Lent  by  Clarence  Buckingham. 
Another  of  the  same  series  as  the  preceding  number. 


89.  THE  ACTOR  SEGAWA  KIKUNOJO  CARRYING  A 
LARGE  HAT. 

Signed:  Torii  Kiyomitsu,  ga.  1767  or  1768.  Size  12%x5%.  Lent 
by  Frederick  W.  Gookin. 


90.  YOUNG  MAN  WALKING  WITH  AN  UMBRELLA 
AND  A  LANTERN. 

Signed:  Torii  Kiyomitsu,  ga.  About  1768.  Hashira-e.  Size  28x5. 

Lent  by  Clarence  Buckingham. 

So  far  as  known  this  is  Kiyomitsu’s  finest  print  in  the  Haru¬ 
nobu  manner.  The  many  hues  into  which  the  purple  of  the  haori 
(coat)  has  changed  furnish  an  instructive  object  lesson  for  de¬ 
termining  such  transformations  in  other  prints. 

-43- 


SUZUKI  HARUNOBU 

The  date  of  the  birth  of  this  eminent  artist,  who  should  per¬ 
haps,  be  considered  the  central  figure  in  Ukiyo-e,  has  not  been 
ascertained.  It  is  known  that  he  died  on  the  15th  day  of  the  6th 
month  of  Meiwa  7  (1770)  and  his  age  at  his  death  in  variously 
stated  as  sixty-seven,  about  fifty-two,  and  about  forty  years. 
There  is  reason  to  believe  that  the  latter  is  correct.  It  accords 
more  nearly  with  the  probabilities  as  indicated  by  his  published 
work.  He  was  a  pupil  of  Nishimura  Shigenaga,  and  at  first 
seems  to  have  devoted  himself  chiefly  to  drawing  designs  in  black 
and  white  for  book  illustration.  As  with  all  artists  of  marked 
force,  his  individual  characteristics  asserted  themselves  early,  but 
it  was  not  until  about  1763  that  he  began  to  attract  especial  at¬ 
tention.  From  that  time  on  until  his  untimely  death  he  held  the 
center  of  the  stage  against  all  rivals.  His  invention  of  full  colour 
printing  has  already  been  mentioned  in  the  introduction  to  this 
catalogue,  and  need  not  here  be  again  recited.  In  the  serenity 
and  charm  of  his  compositions  he  is  unsurpassed.  The  word 
“composition/'  as  here  used,  does  not  signify-  adhesion  to  any 
stereotyped  formula,  but  rather  the  contrary,  since  to  compose  is 
necessarily  to  create.  What  it  does  mean  is  such  arrangement  of 
the  lines,  masses,  spaces,  and  other  elements  with  which  the  artist 
has  to  deal,  as  will  achieve  a  perfect  balance  of  all  the  parts  and 
produce  a  complete,  harmonic,  and  restful  whole.  In  his  choice 
of  subjects  and  in  their  treatment  Harunobu  was  more  often  seri¬ 
ous  than  was  usual  in  Ukiyo-e.  In  fact,  his  tendency  was  toward 
the  refinement  of  the  classic  schools,  and  his  drawings  have  a 
grace,  sweetness,  and  tenderness  that  are  all  their  own.  His  line, 
too,  though  without  any  of  the  bravura  quality  so  highly  esteemed 
by  his  countrymen,  is  nevertheless  extremely  pure,  firm  and  of 
great  charm.  Harunobu’s  studio  was  situated  at  the  corner  of 
Yonezawa-cho  Ryogoku.  Many  of  his  prints  were  issued  un¬ 
signed.  No  signature  was  at  first  thought  necessary.  Who  could 
mistake  a  print  by  him  for  the  work  of  another  hand?  Never¬ 
theless,  as  his  style  became  assimilated  by  other  artists,  the  futility 
of  this  boast  became  apparent.  Thereafter  Harunobu’s  prints 
usually  had  his  signature  appended.  Several  of  his  pupils  imi¬ 
tated  his  style  very  closely.  .One  of  them,  known  as  Harushige, 
and  later  as  Shiba  Kokan,  in  a  book  of  “confessions,”  published 
toward  the  end  of  his  life,  admits  having  systematically  made 
prints  to  be  sold  as  those  of  the  master.  Besides  these  imita¬ 
tions,  many  re-engravings  have  been  issued  at  various  times. 
Thus  it  will  be  seen  that  the  path  of  the  collector  of  Harunohu’s 
prints  is  beset  with  many  stumbling  blocks. 

-44— 


SUZUKI  HARUNOBU 


91.  GIRLS  PLAYING  HANETSUKI  (BATTLEDORE 
AND  SHUTTLECOCK). 

Signed :  Suzuki  Harunobu,  ga.  About  1763.  Print  from  three 
colour  blocks.  Size  Ilj4xl6%.  Lent  by  John  H.  Wrenn. 

This  was  printed  in  red,  blue  and  yellow,  but  the  fading  of 
the  colours  has  resulted  in  an  entirely  different  harmony  of  buff 
and  grays.  The  game  of  hanetsuki  is  in  season  at  the  New  Year’s 
holidays,  which,  under  the  Japanese  lunar  calendar,  not  infre¬ 
quently  came  in  the  time  of  the  plum  tree  blossoming,  corre¬ 
sponding  to  our  February. 

92.  LOVERS  MEETING  UNDER  THE  AUTUMN  FULL 
MOON. 

Signed :  Suzuki  Harunobu,  ga.  About  1764.  Print  from  three 
colour  blocks.  Size  llJ4x5}4.  Lent  by  Frederick  W.  Gookin. 

When  this  print  was  made  the  advent  of  full  colour  printing 
was  not  far  distant.  The  skill  with  which  the  three  colours  are 
handled  presages  what  is  to  come. 

93.  MUSUME  LEAPING  FROM  KIYOMIDZU  TEMPLE 
WITH  AN  UMBRELLA  AS  A  PARACHUTE. 

Not  signed.  1764.  Size  10^4x8.  Lent  by  Frederick  W.  Gookin. 

The  year  1765  (Meiwa  ni)  is  generally  accepted  as  that  in 
which  Harunobu  developed  the  art  of  colour  printing  to  a  point 
never  before  attained.  For  several  years  previous  he,  in  common 
with  other  leading  Ukiyoe  artists,  had  been  designing  prints  for 
which  three  colour  blocks  were  used,  but  some  time  during  the  first 
year  of  Meiwa  (1764)  he  entered  upon  a  series  of  experiments  in 
full  colour  printing,  multiplying  his  colour  blocks  at  first  to  five, 
and  then  to  any  number  necessary  to  secure  the  effect  at  which 
he.  aimed,  instead  of  limiting  the  colours  to  a  few  primary  or 
secondary  hues  and  the  tints  produced  by  their  superposition.  The 
first  innovation  made  was  probably  the  printed  background.  This 
with  one  stroke  completely  changed  the  character  of  the  prints 
and  opened  a  wide  range  of  possibilities,  which  Harunobu  was 
quick  to  perceive  and  which  he  lost  no  time  in  exploring.  By 
using  mixed  tints  instead  of  the  colours  theretofore  employed  by 
the  print  designers,  the  scope  of  the  art  widened  as  if  by  magic. 
Flushed  with  the  joy  of  discovery  he  strove  to  produce  prints 
that  would  have  the  charm  of  paintings  and  be  worthy  substi¬ 
tutes  for  them.  To  emphasize  the  new  departure  he  adopted  a 
special  size  and  shape  (about  11  by  8  inches)  for  his  prints,  and 

-45— 


SUZUKI  HARUNOBU 


not  only  chose  subjects  likely  to  appeal  to  men  of  taste,  but  treat¬ 
ed  them  with  a  grace  and  refinement  previously  unknown  in 
Ukiyo-e.  Portraits  of  actors,  of  which  in  the  past  he  had  made  a 
few  only,  he  now  utterly  scorned,  and  declared  himself  “the  true 
successor  of  the  painters  in  the  department  of  printing.’’ 

The  first  of  the  prints  in  the  new  manner — nishiki-e  or  bro¬ 
cade  pictures  they  were  called,  from  the  many  colours  woven  to¬ 
gether  in  them — were  little  calendars  for  the  second  year  of 
Meiwa  (1765).  It  has  hitherto  been  supposed  that  the  calendar 
form  was  merely  a  convenient  device  by  which  Harunobu,  proud 
of  his  new  achievement,  unostentatiously  dated  his  prints.  The 
fact  that  two  editions  of  many  of  them  were  issued,  one  bearing 
the  date  and  the  other  without  it,  indicates  that  this  supposition 
is  untenable.  Instead,  it  is  probable  that  the  interest  excited  by 
the  beauty  of  the  new  prints  caused  many  literary  men  to  order 
nishiki-e  calendars  for  distribution  among  their  friends  at  New 
Year’s.  The  celebration  in  1765  of  the  nine-hundredth  anni¬ 
versary  of  the  advent  at  the  court  of  the  Emperor  Seiwa  of 
Sugawara  no  Michizane,  the  celebrated  statesman,  scholar,  calig- 
rapher,  and  patron  of  art,  canonized  as  Tenjin  Sama,  made  cal¬ 
endars  peculiarly  appropriate  mementos  of  the  year.  Undoubt¬ 
edly  some  were  made  by  Harunobu  for  sale  in  his  shop,  and  when 
the  occasion  for  them  had  passed  other  blocks  were  substituted 
for  those  bearing  the  numerals.  Quite  possibly  the  date  blocks 
were  in  some  instances  an  afterthought.  Be  that  as  it  may,  it  is 
evident  that  the  calendars  were  printed  in  the  latter  months  of 
1764  in  preparation  for  the  new  year  festal  season. 

In  this  print  the  numerals  of  the  large  months  of  1765  are 
concealed  in  the  medallions  upon  the  girl’s  kimono. 

94.  TWO  GIRLS  IN  A  BOAT  GATHERING  LOTUS 
FLOWERS. 

Signed:  Harunobu,  ga.  Also  signed  by  the  engraver:  Kyosen  kd 
(work,  i.  e.,  engraved).  Stamp:  Kyosen.  1764.  Size  8)4x11)4. 
Lent  by  Clarence  Buckingham. 

This  is  also  a  little  calendar  for  Meiwa  ni.  The  numerals  for 
the  large  months  are  upon  the  obi  of  the  kneeling  figure. 

95.  GIRL  ATTENDANT  (YATORI  ONNA)  IN  AN 
ARCHERY  GALLERY. 

Not  signed.  1764.  Size  8)4x11)4.  Lent  by  Clarence  Buckingham. 


SUZUKI  HARUNOBU 


Again  we  have  a  little  calendar  for  1765.  The  year  is  in¬ 
scribed  upon  the  arrow  holder;  the  large  month  numerals  upon 
the  obi  (sash)  but,  lest  they  appear  too  obvious  to  please  the  art¬ 
ist’s  literary  patrons,  the  ideographs  are  curiously  decomposed 
and  their  members  or  strokes  twisted  into  forms  not  readily 
recognizable.  Here  for  the  first  time  we  have  a  background  of 
opaque  colour  produced  by  mixing  go  fun  (Chinese  white)  with 
the  other  pigments.  In  this2  Harunobu,  or  his  printer, — perhaps 
both  in  conjunction,  for  they,  together  with  the  engraver,  prob¬ 
ably  worked  in  the  same  shop, — was  a  pioneer.  The  phrase 
“Yatori  onna”  signifies  arrow-collecting  woman,  but  it  was  also 
customary  for  the  girls  to  do  the  shooting  for  the  patrons  of  the 
galleries. 

96.  LADY  STANDING  IN  THE  DOORWAY  OF  A 
HOUSE. 

Not  signed.  1764.  Size  11x8.  Lent  by  Clarence  Buckingham. 

Another  beautiful  specimen  of  the  prints  of  this  eventful  year. 
In  refinement  and  grace  of  drawing  Harunobu  easily  surpasses  all 
his  rivals.  This  print  is  also  a  calendar  for  1765.  The  year  is 
plainly  inscribed  upon  the  obi,  while  upon  the  kimono  appear  the 
ideographs  otsu  (negative),  ondori  (cock,  the  zodiacal  sign  for 
Meiwa  ni),  and  the  numerals  for  the  small  months.  This  print 
was  issued  in  two  different  states.  A  copy  of  the  second  state, 
which  is  not  a  calendar,  was  in  the  Hayashi  sale  (Paris,  1902). 

97.  AN  ARCHER  AND  TWO  GIRLS. 

Signed :  Suzuki  Harunobu,  ga.  1764.  Size  10%  x8.  Lent  by 

Frederick  W.  Gookin. 

Every  one  of  Harunobu’s  experiments  brings  out  some  new 
quality.  Here  the  colour  scheme  is  of  the  simplest ;  only  a  pale 
blue,  a  dull  red  purple,  two  yellows  and  olive,  but  how  delightful 
the  harmony,  and  who  but  a  master  could  have  placed  the  heads 
of  the  two  girls  in  such  relative  position  without  spoiling  the  com¬ 
position?  The  year  is  upon  the  turned-over  flap  of  the  man’s 
kimono ;  the  numbers  of  the  large  months  appear  as  bamboo 
leaves  in  the  pattern  upon  the  olive  kimono  of  one  of  the  girls. 

98.  ANOTHER  COPY  OF  THE  FOREGOING. 

Not  signed.  1764.  Lent  by  Frank  Lloyd  Wright. 

A  comparison  of  this  print  with  the  preceding  number  is  in¬ 
structive.  This  is  plainly  from  a  different  edition.  The  colour 

—47— 


SUZUKI  HARUNOBU 


scheme  has  been  changed,  the  signature  omitted,  and  other  blocks 
with  new  patterns  substituted  for  those  bearing  the  name  of  the 
year  and  the  numbers  of  the  large  months. 

99.  THE  ROKUROKUBI. 

Signed  by  the  engraver,  Kyosen.  Stamp :  Kyosen  no  in.  1764. 

Size  10^x7^.  Lent  by  Frederick  W.  Gookin. 

Rokurokubi,  or  “swirling  necks,”  are  supposed  to  be  people 
who,  when  asleep,  have  the  faculty  of  elongating  their  necks  until 
their  heads  reach  out  to  places  remote  from  their  bodies.  Here  a 
girl’s  head  appears  above  the  frame  of  the  fusnma  (sliding  par¬ 
tition)  while  through  the  opening  at  the  right  the  outstretched 
neck  shows  as  a  tenuous  white  line.  Hopping  across  the  fore¬ 
ground  are  two  curiously  misshaped  cocks  (the  zodiac  sign  for 
1765),  their  bodies  formed  of  the  ideographs  mei  and  wa;  while 
upon  the  fusuma  at  the  left  is  a  beetle,  whose  body  is  made  of  the 
numeral  ni  (two).  tJpon  a  screen  which  appears  above  the  fu¬ 
suma  is  the  character  slid  (small)  and  the  numerals  one,  four, 
seven,  nine,  eleven,  twelve;  and  upon  the  frame,  dai  (large)  and 
two,  three,  five,  six,  eight,  ten — the  lunar  months  of  1765. 

100.  THE  FOX  WOMAN. 

Signed :  Suzuki  Harunobu,  ga.  Also  by  the  printer :  Sekine 

Kaei,  shin  (printed),  and  the  engraver,  Seiha  ko  (engraved).  1764. 

Size  11 5/2x8.  Lent  by  Frederick  W.  Gookin. 

In  this  calendar  for  1765  the  ideograph  dai  (large)  and  the 
numerals  for  the  large  months  appear  in  the  guise  of  leaflets 
falling  from  a  willow  tree. 

The  fox,  in  Japanese  folk-lore,  is  the  personification  of  mis¬ 
chief  and  deviltry.  Among  his  reputed  supernatural  powers  is 
that  of  assuming  various  forms  in  furtherance  of  his  wicked  ends. 
As  his  age  increases  so  do  these  powers  and  his  cunning  in  their 
use.  At  fifty  he  is  able  to  accomplish  at  will  his  favorite  meta¬ 
morphosis  into  the  semblance  of  a  woman,  but  his  real  nature  is 
revealed  when  his  image  is  reflected  in  water.  In  this  print  a 
young  woman,  gazing  through  a  round  window  at  her  reflection 
in  the  water  in  the  moat  below,  is  seen  to  be  in  reality  a  fox. 

101.  AN  OLD  MAN  ENTERTAINED  BY  GEISHAS. 

Signed  only  by  the  engraver,  Kyosen.  1764.  Size  9xl2jL  Lent  by 

John  H.  Wrenn. 


—48— 


3 

o 


p 

-t 

p 

p 

o 

cr* 

P 


Cn 

O 


Co 

10 


•  ' 


X I  [£  RGKt’&OK 


,.;  m  i  •  < .  >■.!•!: 

Si? c  »0;  i,.  V/ 

; V; .u a-  ,v,  irSnt;  ■  *}•.  •  : 

;  .  '■  '■on  :-v  :0,  -  .  ;otS.ty  of 

••  ucl.  ■  #T*  ,t 


Kg*  ,*  J 


JU^t-  ihr 

as  a  ten  .  r>  in.; 

tyr  -  curl-- 

•  ttodics  f  .  *.  .  * 

.  i:  >;;ra  at  tito  n  f  1.  -.0  "  -r--  l.ti 

v>:  f  two).  '  .  »n  whk'U  ^ *  ; ■.  above 

■  ■'.  chs.ro  1  !  s.i .  'v 

"nne  etew-  ■  '  -  ?<n  < 

■  ■>:.  i  JVC  ■  ..  f  .  ’■■•',  -•  '  •  \ 


iac  "sign  f  >r 
d  «■*},’  wMli 


r  ■  S&tiHfc 
) .  ?764. 


ftd  the 


t 

sin*  « sde^iai  $  or,  17 :•*.  >j-. ??>>.'';  tfar, 

.  .  Vrf'  <  a  ifl<  i\  s  is 


*•0  o 

u  .  i;  - -.r  t 

a  ■  ■■  u.eta 

i-  -  V.»:  t.n  *iaf*C'  ■>:  8  ■<  .  1}  •  isatv  *  IS 

■i  •  it-;  si*  ;c.  is  * r *i c ■•  *  i**  f*. "iiti  *•  1  *  |/rm ■  a 

..  ;  i  v  •  jn 

ji 


■  lit.  il  !  >t  :U.' 


<5  e.Titis. 


A :  >1.DMA>:  EKTI^JAtK^g  :iY  i  fl?*  r 

>  . ; n .  ■:  mK  *  ti*<  i:  K/.  1}V*5 


»  ? 

*  •  :* 


f:* 


'•  *+  -  -  -  -  •  -  *  v.—  ^  ’  >•*  . 


>'  Mg  '.T&t*'™**** 

//Mi  .  v  ■'  ■.  V' ; 

-*eev'.  r’-  ;  '-, 


,.  A  ■•••,■■>  ,v*) 

*,•-■-  ■■■/■■  '  ■  ■-»•-:  ^  '  .  ;.lfr 

;;v. .  ■■•  v  'v.'”  ■’  ’  'if,* 


“i*-— £'  *,  isHi 


SUZUKI  HARUNOBU 


A  matchless  proof  of  one  of  Harunobu’s  most  important 
works  of  this  year.  Meiwa  ni  is  written  upon  the  border  of  the 
screen  back  of  the  figures,  and  the  numerals  for  the  large  months 
appear  upon  the  obi  of  the  dancing  girl. 

The  subject  is  a  popular  version  or  analogue  of  the  historic 
incident  of  Shizuka,  the  concubine  of  Yoshitsune,  dancing  the 
Horaku  before  Yoritomo  at  the  shrine  of  Hachi- 


man. 


102.  READING  THE  LOVE  LETTER. 

Not  signed.  1764.  Size  11x8.  Lent  by  Frederick  W.  Gookin. 

The  subject  is  an  analogue  of  a  scene  from  Chushingura,  the 
story  of  the  Forty-seven1  Loyal  Ronin.  Yuranosuke,  their  chief, 
having  reecived  a  letter  apprising  him  of  the  movements  of  Moro- 
nao,  whom  they  had  sworn  to  kill,  read  it  standing  upon  the  ve¬ 
randa  of  his  inn,  where  he  supposed  he  was  free  from  observa¬ 
tion,  but  Kudayu,  the  spy,  hidden  beneath  the  floor,  was  able  to 
master  the  contents.  In  this  print  we  are  shown  a  young  woman 
reading  a  love  letter  which  a  young  man  hidden  beneath  a  futon 
(comforter)  is  also  enjoying.  Couched  in  abstruse  poetical  phrase 
and  worked  into-  the  text  of  the  letter,  something  after  the  man¬ 
ner  of  an  acrostic,  are  the  year  name,  Meiwa  ni,  and  the  num¬ 
bers  of  the  large  months.  The  learning  necessary  to  decipher 
these  points  unmistakably  to  the  calendar  as  made  for  some  liter¬ 
ary  man.  . 

103.  ASAZUMA  BUNE. 

Not  signed.  Probably  1765.  Size  Ilx8j4.  Lent  by  Frederick  W. 

Gookin. 

The  variety  and  beauty  of  Harunobu’s  colour  schemes  is 
amazing.  Time,  however,  has  greatly  transformed  this  print,  the 
blue  of  sky  and  water  being  changed  to  warm,  low-toned  buff. 
The  engraving  and  printing  are  noteworthy. 

Asbzuma  was  the  mistress  of  Iyetsuna,  the  fourth  Shogun, 
who  neglected  the  cares  of  government  for  endless  boating 
parties  in  her  company.  She  is  represented  in  the  costume  of  a 
lady  of  the  Fujiwara  epodh.  Beside  her  is  a  tsuzumi,  a  kind  of 
drum,  played  upon  by  striking  with  the  palm  of  the  hand. 


104-  ONNA  NO  DARUMA. 


Not  signed.  Probably  1765.  Size  ll$4x8*4.  Lent  by  Frederick  W. 
Gookin. 


-49- 


SUZUKI  HARUNOBU 


Here  the  subject  is  a  travesty  of  the  reputed  miracle  of  Da- 
ruma  journeying  to  Japan  across  the  sea  upon  a  reed,  a  young 
woman  attired  in  rose-coloured  garments  being  put  in  place  of  the 
sage.  Daruma  (Sanskrit,  Bodhi  Dharma)  was  a  Hindu  who 
introduced  the  tenets  of  the  Shin  sect  of  Buddhism  into  China 
early  in  the  sixth  century.  He  is  most  commonly  represented  in 
an  attitude  of  contemplation,  wrapped  in  a  red  robe,,  having,  it 
is  said,  thus  spent  nine  years  facing  a  blank  wall. 

105.  YOUNG  WOMAN  BEFORE  A  TORII. 

Signed :  Suzuki  Harunobu,  ga,  and  by  the  engraver,  Sekine  Kaei. 
Probably  1765.  Size  11x872-  Lent  by  Clarence  Buckingham. 

The  subject  is  similar  to  that  described  in  the  note  to  No. 
186.  Here  the  girl  has  in  one  hand  a  hammer,  and  in  the  other  a 
nail  she  is  about  to  drive  into  a  pine  tree  which  stands  near  the 
bank  of  a  stream,  near  a  torii,  one  post  of  which  is  seen  at  the 
right. 

106.  YOUNG  WOMAN  WALKING  IN  THE  SNOW. 

Signed :  Harunobu,  ga ;  also  by  the  engraver,  Seiha.  1765.  Size 
1134x8%.  Lent  by  Clarence  Buckingham. 

Here  we  have  a  little  calendar  for  the  third  year  of  Meiwa. 
It  is  a  proof  impression  in  remarkable  condition,  only  the  gofun 
(Chinese  white)  used  for  the  high  lights  upon  the  snow,  having 
slightly  discoloured  in  places.  The  year  and  numbers  for  the  large 
months  appear  upon  the  obi,  though  in  characters  so  curiously 
decomposed  as  to  be  practically  illegible  except  by  persons  of  un¬ 
usual  erudition. 

107.  WOMAN  AND  YOUNG  BOY  UPON  A  VERANDA. 

Signed  by  the  engraver,  Goro.  Stamp :  “Ryu,”  probably  that  of 
some  previous  owner.  1765.  Size  11x8.  Lent  by  Clarence  Buck¬ 
ingham. 

This  is  another  calendar  for  Meiwa  san  (1766).  The  subject 
is  a  travesty  upon  the  incident  of  the  poet  Ono  no  Komachi  wash¬ 
ing  the  ancient  roll  (see  note  to  No.  425).  A  boy  having  got 
some  ink  splashes  upon  a  letter  belonging  to  his  sister  is  about 
to  apply,  a  dipper  of  water,  with  probably  disastrous  results, 
while  the  young  woman  rushes  forward  to  stop  him.  The  ink 
splashes  form  the  word  sho  (small)  and  the  numbers  of  the  small 
months  are  upon  the  letter,  while  the  name  of  the  year  is  upon 
the  boy’s  obi  (sash)  and  the  numbers  of  the  large  months  are 
upon  the  girl’s  kimono. 


—50- 


SUZUKI  HARUNOBU 


108.  STREET  SCENE:  YOUNG  GIRL  FOLLOWED  BY 
A  MAID  SERVANT. 

Not  signed.  Probably  1765.  Size  Ilx8j4.  Lent  by  Frederick  W. 
Gookin. 

Of  another  copy  of  this  print  exhibited  in  New  York  in  1896, 
Mr.  Fenollosa,  in  “The  Masters  of  Ukioye,”  wrote,  “It  seems  as 
if  the  art  could  hardly  achieve  greater  perfection.”  The  figures 
have  an  indescribable  charm ;  the  use  of  transparent  colour  in 
some  places  and  of  the  new  opaque  mixture  in  others  gives  both 
vivacity  and  solidity  of  effect. 

109.  GIRLS  PLAYING  SUGOROKU. 

Signed :  Harunobu.  Probably  1765.  Size  11x8^.  Lent  by  Clarence 
Buckingham. 

The  game  of  Sugoruku  has  several  varieties.  That  here  de¬ 
picted  is  a  kind  of  backgammon.  Its  vogue  has  died  out  in  recent 
years  and  it  is  not  now  generally  known. 

no.  A  VISIT  FROM  HOTEL 

Signed :  Harunubu,  ga.  Probably  1765.  Size  8y£xl0yL  Lent  by 
Frank  Lloyd  Wright. 

Hotei,  the  embodiment  of  good  nature  and  contentment,  is 
one  of  the  group  of  seven  mythical  beings  known  as  “The  Seven 
Gods  of  Good  Fortune.” 

■  .  ■ 

hi.  THE  SUDDEN  SHOWER. 

Not  signed.  Stamp  not  decipherable,  probably  that  of  the  engraver. 
Probably  1765.  Size  11x8^-  Lent  by  Frederick  W.  Gookin. 

A  sudden  shower  causes  a  young  woman  to  seize  a  pole  and 
rush  to  take  the  washing  from  the  line.  In  her  haste  she  drops 
her  geta  (clog)  and  is  turning  to  look  for  it. 

112!  THE  BRANCH  OF  YAMABUKI. 

Not  signed.  Probably  1765.  Size  Ilj4x8y2.  Lent  by  Frederick  W. 
Gookin. 

Ota  Dokan,  renowned  as  1;he  founder  of  Tokyo,  having  in 
1456  erected  a  stockade  upon  a  hill  which  is  now  within  the  en¬ 
closure  of  the  Imperial  palace,  being,  caught  by  a  sudden  shower, 
hastened  to -a  farm  house,  hoping  to  borrow  a  straw  rain  coat. 
At  the  entrance  he  was  met  by  a  maid  holding  out  to  him  a  spray 
of  yamabuki  (Kerria  Japonica)  in  flower.  As  this  plant  is  sterile 

—51— 


SUZUKI  HARUNOBU 


he  understood  at  once  that  she  had  no  rain  coat  to  offer.  Much 
impressed  by  the  incident  he  recorded  it  in  the  poem  which  is 
now  a  classic. 

Nanaye  ya  ye 
Hana  wa  sake  domo 
Yamabuki  no 

Mi  no  hitotsu  da  ni 
Nakizo  kana  shiki 

1 13.  TWO  GIRLS  CONVERSING. 

Not  signed.  Probably  1765.  Size  11x8^.  Lent  by  Frederick  W. 
Gookin.  •  ' 

This  symphony  in  reds  and  grays  represents  two  women  seat¬ 
ed  upon  the  floor  of  a  room.  Between  them  is  a  box  containing 
brushes  and  colours,  and  in  the  alcove  at  the  back  is  a  box  full 
of  large  sheets  of  drawing  paper. 


1 14.  THE  CHERRY  FLOWER  FISHERWOMAN. 

Not  signed.  Probably  1765.  Size  Lent  by  J.  Clarence 

Webster.  " 

A  young  woman  stands  by  a  stream  holding  a  net  with  which 
to  catch  the  blossoms  fallen  into  the  water  from  the  cherry  tree 
upon  the  opposite  bank.  The  flowing  curves  of  the  water  are 
most  enchanting,  and  realistic  in  their  suggestion  of  rapid  motion. 


1 1 5.  YOUNG  WOMAN  BEFORE  A  GATE,  HOLDING  A 
LETTER  UPON  AN  OPEN  FAN. 

Not  signed.  Probably  1766.  Size  11  x7j4.  Lent  by  J.  Clarence 

Webster. 

Here  the  blue  of  the  sky  and  water  are  little  if  any  changed, 
and  the  purple  of  the  girl’s  kimono  has  a  lovely  “wet”  quality  that 
adds  much  to  the  charm  of  the  print. 

/  ;i‘ ;  • .  L .  *  />_  .►n*I  .  ■'Nil  asi2  .;b\«  i  .•  .  h  '  Z 

1 16.  PERSIMMON  GATHERERS.  J  .  '  ~  n  .  ;v;_ 

Signed:  Suzuki  Harunobu,  ga.  Probably  1766.  Size  1114x874. 
Lent  by  J.  Clarence  Webster. 

A  young  man  holds  a  young  girl  upon  his  back  that  she  may 
reach  the  persimmons  growing  on  the  other  side  of  a  straw  fence. 

-52- 


SUZUKI  HARUNOBU 


1 17.  WOMAN  ON  A  VERANDA  WITH  TWO  GIRL  AT¬ 
TENDANTS  AND  A  PET  DOG. 

Signed  by  the  engraver,  Senga  ko.  Stamp.  Senga.  Probably 
late  in  1766.  Size  Il%x8j4.  Lent  by  Frederick  W.  Gookin. 

In  “The  Masters  of  Ukioye,”  the  catalogue  of  the  Ketcham 
Exhibition  of  Ukiyo-e  paintings  and  prints  held  in  New  York 
in  January,  1896,  Mr.  Fenollosa  says  of  the  copy  of  this  print 
there  exhibited,  which  differs  from  this  in  not  having  the  en¬ 
graver’s  signature :  “In  this  wonderful  print  Harunobu  about 
reaches  the  extreme  possibilities  of  his  experimental  stage.  There 
are  fourteen  or  fifteen  distinct  tones  lavished  in  a  perfect  shower 
of  wealth  on  every  part  of  the  design.  The  background  itself 
is  a  mosaic  of  light.  But  the  most  extraordinary  thing  is  that 
they  hold  their  place  without  undue  confusion.  This  implies  su¬ 
preme  mastery  over  two  of  the  intrinsic  dimensions  of  colour, 
which  are  not  always  considered ;  namely,  the  darkness  and  light¬ 
ness  of  colours  {notan)  and  the  brilliancy  and  grayness  of  colours 
( seiutsu ).  He  has  now  discovered  how  to  use  the  very  opaque¬ 
ness  of  tones  over  paper  so  as  to  give  them  transparency  of  ef¬ 
fect.  What  could  be  more  liquid  or  enamel-like  than  the  cool 
blue  of  the  hanging  curtain  ?  How  finely  the  yellow  of  the  pillar 
cuts  it!  Observe  the  texture,  as  painting;  the  pigment,  like 
spring  fro$t,  touching  the  hilltops  of  the  surface,  but  sparing  the 
valleys.  Thus  is  colour  physically  diluted,  as  it  cannot  be  in 
water-colour  wash,  by  letting  the  white  light,  held  in  solution  by 
the  paper’s  fibres,  diffuse  itself  outward  through  the  thin  veil 
of  the  pigment.  Need  we  wonder  that  the  name  nishiki-e  or 
embroidery  painting  was  now  bestowed  upon  this  new  art? 

1 18.  GIRLS  GATHERING  PLUM  BLOSSOMS  OVER  A 
WALL. 

Jslot  signed.  Probably  early  in  1767.  Size  11x8^4.  Lent  by  Fred¬ 
erick  W.  Gookin. 

.  ,  -I  •  -  .  •  U.-  1  i 

1 19.  CHOFU  NO  TAMAGAWA. 

Not  signed.  About  1767.  Size  llx8}4.  Lent  by  Clarence  Buck¬ 
ingham. 

This  is  one 'of  the  celebfated°“Six  Tamagawa”  series.  The 
title,  which  is  a  fanciful  one,  is  suggested  by  the  six  rivers  named 
Tama,  in  as  many  different  provinces.  Each  print  illustrates  an 
odO  which  appears  at  the  top.  Here  the  subject  is  a  young  woman 
rinsing  long  strips  of  white  cloth  in  a  river. 


SUZUKI  HARUNOBU 


120.  NOJI  NO  TAMAGAWA. 

Not  signed.  About  1767.  Size  11x8^4.  Lent  by  Frederick  W. 

Gookin. 

Another  of  the  “Six  Tamagawa”  series.  Two  girls  by  a 
stream  are  looking  at  the  image  of  the  full  moon  reflected  in  the 
water  beneath  a  hagi  (lespedeza)  bush. 

12 1.  KINUTA  NO  TAMAGAWA. 

Not  signed.  About  1767.  Size  l\x8lA-  Lent  by  Frederick  W. 

Gookin. 

This  is  a  third  print  of  the  “Six  Tamagawa”  series.  Two  girls 
seated  in  a  room  are  cleaning  cloth  by  pounding.  This  process 
is  known  as  Kinuta,  which  is  also  the  name  of  a  place  on  one  of 
the  Tamagawa.  Through  the  bamboo  lattice  of  a  window  the 
fruit-laden  branches  of  a  kaki  ^persimmon)  tree  appear,  and 
upon  the  wall  at  the  left  two  colour  prints  are  shown. 


122.  IDE  NO  TAMAGAWA. 

Not  signed.  About  1767.  Size  11x8 J4.  Lent  by  John  H.  Wrenn. 

Still  another  of  the  “Six  Tamagawa”  series.  Three  girls  are 
shown  fording  a  shallow  stream.  On  the  bank  behind  them  are 
yellow  flowers  of  the  yamabuki.  This  print,  which  is  from  the 
collection  made  by  the  old  publishing  house  “Daikokuva,”  is  in 
marvelous  preservation,  the  colours  little,  if  any,  affected  by 
time. 


123.  ANOTHER  COPY  OF  THE  FOREGOING. 

About  1767.  Lent  by  Clarence  Buckingham. 

Here  the  colours  are  charmingly  faded  and  oxidized.  As  to 
which  condition  is  preferable,  opinions  differ  widely. 

.A //AO  AM  AT  O'A  j  10 f  ID  .yj  1 

124.  THE  LOVER’S  DUET.  ’  L-,:i- . 

Signed :  Suzuki  Harunobu  ga.  About  1767.  Size  10^x8.  Lent 
by  Frederick  W.  Gookin. 

Two  lovers  are  seen  seated  upon  a  bench  by.  a  river  and  play¬ 
ing  upon  a  samisen.  Later  editions  of  this  print  have  colour 
blocks  with  quite  different  patterns. .  • 

-S4— 


SUZUKI  HARUNOBU 


125.  YOUNG  MAN  PLAYING  UPON  A  FLUTE  (YOKO- 
BUE). 

Signed:  Suzuki  Harunobu,  ga.  -  Probably  1767.  Size  11x824. 
Lent  by  Clarence  Buckingham. 

The  subject  is  a  modern  version  of  Ushiwaka  playing-  before 
Jorurihime. 

126.  MUSUME  WITH  AN  UMBRELLA  IN  A  GALE  OF 

WIND.  >  •  :  :  0  '  »■  • 

Signed :  Suzuki  Harunobu,  ga.  1767.  Size  10j4xt8.‘  Lent  by  Clar¬ 
ence  Buckingham. 

127.  WHO’S  THERE? 

Signed:  Harunobu,  ga.  Probably  late  in  1767.  Size  Il%x8j4. 
Lent  by  Frederick  W.  Gookin. 

A  young-  woman  at  a  window,  having  pushed  the  shoji  aside, 
is  looking  out  upon  her  lover  who,  with  averted  head,  kneels  in 
the  snow  under  a  partly  opened  umbrella.  A  broken  wheel  of  a 
court  wagon  (gosho  guruma)  indicates  that  this  is  a  modern  ver¬ 
sion  of  an  adventure  of  Prince  Gengi. 

128.  TWO  GIRLS  VIEWING  CHERRY  BLOSSOMS. 

Not  signed.  Series  Furyu  Komachi.  Probably  1768.  Size  12j4x 
5j4.  Lent  by  John  H.  Wrenn. 

The  title  “$himizu”>  (waterfall),  suggests  the  poetic  resem¬ 
blance  borne  by  the  blossoming  cherry  tree.  The  discolouration 
of  the  ground  adds  greatly  to  the  charm  of  this  print. 

129.  ANOTHER  COPY  OF  THE  FOREGOING  IN  DIF¬ 
FERENT  COLOURING. 

Lent  by  Frank  Lloyd  Wright. 

This  is  one  of  another  edition  and  bears  the  signature :  Suzuki 
Harunobu,  ga. 

130.  GIRLS  IN  A  SHOWER  SAILING  A  TOY  BOAT. 

Not  signed.  Series :  Furyu  Komachi.  Probably  1768.  Size  12 J4x 
5 }4.  Lent  by  Clarence  Buckingham. 

The  Japanese  title  “Ami  goi”  (praying  for  rain)  refers  to  an 
incident  in  the  life  of  the  poetess  Komachi. 

it  •  vv  jiqHTO  IT ■  '  vi  TA  r  <v ]  yjy  o  t\  1  /  1 

131.  TWO  WOMEN  ON  A  VERANDA. 

Not  signed..  Series :J Furyu  ivomachi.  Probably  1768.  Size  12l4x 
5l/2.  Lent  by  J.  Clarence  Webster. 

Here  the  title  is  “Kayo-i,”  or  “visiting.” 

—55— 


SUZUKI  HARUNOBU 


132.  WOMAN  READING  A  LETTER  BY  THE  LIGHT  OF 
AN  ANDON  (PORTABLE  LAMP  WITH  WIND 
SCREEN)  WHICH  HER  COMPANION  HOLDS. 

Signed:  Harunobu  ga.  Probably  1768.  Size  Lent  by 

J.  Clarence  Webster. 

133.  YOUNG  MAN  FASTENING  A  GIRL’S  STRAW  SAN¬ 
DAL. 

Signed:  Harunobu  ga.  About  1768.  Size  11x8.  Lent  by  Clar¬ 
ence  Buckingham. 

This  print  has  been  somewhat  retouched  by  hand,  with  beni, 
to  restore  the  colour  that  had  faded. 

134.  FOOTBALL  PLAYERS. 

Signed:  Harunobu  ga.  Probably  1768.  Size  i\xSlA.-  Lent  by 
Frederick  W.  Gookin. 

Here  the  colour  scheme  is  a  harmony  of  gray  green  and  what 
was  once  a  duM1  purple.  For  some  reason  not  easy  to  explain, 
although  the  Japanese  foot-ball  is  a  sort  of  shuttlecock  and  the 
object  of  the  game  is  to  keep  it  in  the  air  as  long  as  possible,  the 
Ukiyo-e  artists  usually  depict  the  players  in  attitudes  not  sug¬ 
gestive  of  violent  action. 

135.  A  LOVER’S  INTERVIEW.  ’  V  /  / 

Signed:  Harunobu  ga.  Probably  1768.  Size  11x8 $4.  Lent  by 
Frederick  W.  Gookin. 

Seated  upon  the  floor  of  a  room  a  young  woman  holds  a  let¬ 
ter  behind  her  while  her  lover  stands  by  her  side  talking  to  her. 
Through  the  open  shoji  is  seen  a  stone  water  holder  (chozu- 
bachi).  The  soft  effect  of  broken  colour,  especially  noticeable 
in  the  girl’s  kimono,  is  due  to  printing  upon  paper  that  was  nearly 
if  not  quite  dry. 

136.  HAGI  NO  TAMAGAWA. 

Signed:  Suzuki  Harunobu  ga.  Probably  1768.  Size  11x8 fJ-4. 
Lent  by  Frederick  W.  Gookin. 

Two  young  women  stand  by  a  river  looking  at  branches  of 
lespedeza  drooping  in  the  stream. 

137.  A  MIAI  (LOOKING-AT-EACH-OTHER-MEETING). 
Signed:  Harunobu  ga.  Probably  1768.  Size  814x11^.  This 
print  and  others  of  the.  series,  lent  by  J;  Clarence  Webster. 

The  series  of  seven  prints'  of  which  this  is  the  first,  illustrate 
the  marriage  ceremonies.  In  Japan  marriages  are  arranged  by  a 

—56— 


*3 

o 


K 

p 

►t 

p  • 

P  M 
O  M 
CT*  H 

P 


3 

O 

K> 

O 

to 


li 


:)■ 

ft 

£ 

w 

« 

,  ,  o 

H  *T3 
5 


O 


'•} Y) 


Lent  t>y 


SUZUKI  HARUNOBU 


Nakodo  or  “go-between,”  who  is  usually  a  friend  of  the  families 
of  both  of  the  contracting  parties.  Before  the  father  makes  the 
final,  proposal  for  a  wife  for  his  son,  a  meeting  called  a  miai  is 
arranged.  Here  it  is  shown  taking  place  in  a  teahouse  near  a 
Shinto  temple. 

138.  THE  ARRIVAL  OF  THE  WEDDING  GIFTS  AT  THE 
HOME  OF  THE  BRIDE. 

Among  the  presents  will  be  noted  two  large  red  fish  (tai)  and 
two  tubs  of  sake  for  the  wedding  feast. 

139.  THE  WEDDING,  PROCESSION:  CARRYING  THE 
BRIDE  TO  THE  HOUSE  OF  THE  GROOM. 

Even  when  the  distance  was  short  the  bride  was  carried  in  a 
kago  to  the  house  of  the  groom. 

140.  CHANGING  THE  BRIDE’S  DRESS. 

3kT.1T  .d  irio  - r  t  '  Vi2  .63  r;cfo:. /ieH  'AjxrW 

141.  THE  MARRIAGE  CEREMONY. 

,  .  .THUG  3 'HA  , .  )j  j  . 

142.  THE  WEDDING  FEAST. 

-iflto'M  •„  ‘  •  ’  3i  It 

143-  THE  FIRST  BABY. 

144.  LADIES  ADMIRING  THE  ARTIFICIAL  WATER¬ 
FALL  AT  KIYOMIDZU  TEMPLE,  KYOTO. 

Signed:  Harunobu  gL  Probably  1768.  Size  11x8 Lent  by 
Frederick  W.  Gookin. 

145.  AFTER  the  bath. 

Signed :  Suzuki  Harunobu  ga.  Probably  1768.  Size  llx8}4. 
Lent  by  Frederick  W.  Gookin. 

A  woman  in  a  blue  bath  robe  stands  on  the  veranda  of 
house  looking  at  a  pot  of  pinks.  In  the  background  is  a  river, 
the  waves  indicated  by  embossed  lines.  Iris  are  growing  in  the 
water.  The  woman’s  robe  is  a  marvel  of  line  composition. 

.rnor’t  of:  ■  ovA 

146.  LOVERS,  ON  A  BALCONY. 

Not  signed-  Probably  late  in  1768.  Size  11x8.  Lent  by  Frederick 
W.  Gookin. 


SUZUKI  HARUNOBU 

147.  WOMAN  STANDING  ON  A  VERANDA  READING  A 
LETTER  BY  THE  LIGHT  OF  A  LANTERN  SUS¬ 
PENDED  FROM  A  PINE  TREE. 

Signed:  Harunobu  ga.  About  1768.  Size  11%x8%.  Lent  by  J. 
Clarence  Webster. 

148.  A  WOMAN  SEATED  IN  A  KAGO  RESTING  UNDER 
A  CHERRY  TREE. 

Signed:  Suzuki  Harunobu  ga.  Probably  1768.  Size  11%x8%. 
Lent  by  J.  Clarence  Webster. 

By  the  woman’s  side  an  attendant  is  holding  a  coil  of  hinawa 
(fire  rope)  with  which  to  light  her  mistress’  pipe. 

149.  MOTHER  DRESSING  HER  YOUNG  SON’S  HAIR. 
Signed:  Suzuki  Harunobu  ga.  Probably  1768.  Size  11x8.  Lent 
by  Frederick  W.  Gookin. 

150.  TWO  WOMEN  UNDER  A  WILLOW  TREE  IN  A 

GALE  OF  WIND.  M  [  • 

Signed:  Suzuki  Harunobu  ga.  Size  Ilx8j4.  Lent  by  Frank 
Lloyd  Wright. 

15 1.  A  LOVER’S  DUET. 

Signed :  Suzuki  Harunobu  ga.  Probably  1769.  Size  11x8.  Lent 
by  J.  Clarence  Webster. 

152.  O-FUJI  GRINDING  COSMETICS  AT  HER  FATHER’S 
SHOP  NEAR  ASAKUSA  TEMPLE. 

Not  signed.  1769.  Size  11J4x8J4.  Lent  by  J.'  Clarence  Webster. 
This  is  one  of  a  series  of  four  prints  that  greatly  increased 
Harunobu’s  reputation  among,  the  populace  of  Yedo.  In  the  sixth 
year  of  Meiwa  (1769)  four  young  girls  renowned  throughout 
the  city  for  their  beauty,  were  selected  to  perform  a  ceremonial 
dance  at  the  installation  of  a  statue  of  Ishizu  Shoshi  at  the  temple 
of  Yushima  Tenjin.  These  girls  were  O-Hami  and  O-Hatsu, 
two  of  the  temple  attendants,  O-Sen,  a  servant  in  the  Kagiya 
teahouse  at  Kasamori  temple,  Yanaka,  and  O-Fuji,  daughter  of 
Niheiji,  who  had  a  tooth  brush  and  cosmetic  shop  at  Asakusa. 
Harunobu’s  four  prints  depicting  these  girls  differ  from  each 
other  only  in  certain,  details,  the  principal  figures  being  much 
alike  in  all  of  them. 

153.  MUSUME  CROSSING  A  BRIDGE  ON  A  WINDY  DAY. 
Signed :  Harunobu  ga.  Probably  1769.  Size  11x8%.  Lent  by 
Clarence  Buckingham. 


-58- 


SUZUKI  HARUNOBU 


154.  TEA-PICKERS. 

Signed:  Suzuki  Harunobu  ga.  Probably  1769.  Size  11x8  54. 
Lent  by  Frederick  W.  Gookin. 

155.  RETURNING  THE  FOOTBALL. 

Signed:  Harunobu  ga.  Probably  1769.  Size  11x854.  Lent  by 
Clarence  Buckingham. 

A  girl,  standing  upon  a  ladder  placed  against  a  garden  wall, 
returns  a  football  to  a  young  man  who  has  his  hand  outstretched 
to  receive  it. 

156.  YOUNG  MAN  AND  GIRL  PLAYING  BATTLEDORE 
AND  SHUTTLECOCK. 

Signed:  Harunobu  ga.  Probably  1769.  Size  11x8%.  Lent  by 
Clarence  Buckingham. 

.  .-.HI  ’ .  '  '  .Tf\i  yldsdor.:  .ay  orr. 

157.  WOMAN  AT  THE  ENTRANCE  TO  A  HOUSE. 

Not  signed.  Probably  1769.  Size  11x814.  Lent  by  Frederick  W. 
Gookin. 

Harunobu’s  figures  now  become  taller,  their  heads  more  oval. 

158.  GIVING  A  LIGHT. 

Signed:  Suzuki  Harunobu  ga.  Probably  1769.  Size  11x8.  Lent 
by  Clarence  Buckingham. 

A  young  woman  meets  a  man  and  stops  to  get  a  light  from 
his  pipe.  A  boy  carrying  a  pair  of  getas  (clogs)  stands  by. 
In  the  background  is  a  snow-covered  landscape  with  vnwie 
(plum)  trees  in  bloom. 

159.  SCENE  IN  A  JORO-YA. 

Signed:  Suzuki  Harunobu  ga.  Probably  1769.  Size  854x1254. 
Lent  by  John  H..  Wrenn. 

95froiB’  ;  '  ••  '  .  'w.-1  jMc!  .?  •'  .  : 

160.  STREET  SCENE. 

Not  signed.  Probably  1769.  Size  854x11.  Lent  by  Frederick  W. 
Gookin. 


161.  TWO  WOMEN  ON  A  BEACH  BY  THE  SEA. 

Signed:  Harunobu  ga.  Probably  1769.  Size  Ilj4x854.  Lent  by 
Clarence"  Buckingham. 

One  woman  is  seated  in  a  kago  resting  upon  the  beach  and 
the  other  is  walking  toward  her. 

—59--,'’.: 


SUZUKI  HARUNOBU 


162.  SAYONARA. 

Signed:  Suzuki  Harunobu  ga.  Probably  1769.  Size  11x8*4. 
Lent  by  John  H.  Wrenn. 

Here  the  discolouration  adds  greatly  to  the  effect.  Without 
it  the  print  would  be  far  less  charming. 

163.  BRIDE  DRESSING  FOR  THE  MARRIAGE  CERE¬ 
MONY.  •  '>  • 

Signed:  Harunobu  ga.  Probably  1769.  Size  11x8.  Lent  by  J. 
Clarence  Webster. 

164.  WOMAN  GAZING  AT  THE  MOON. 

Signed:  Harunobu  ga.  Probably  1769.  Size  llxSyi.  Lent  by 
Frederick  W.  Gookin. 

165.  SAYONARA. 

Signed:  Harunobu  ga.  Probably  1769.  Size  11x8.  Lent  by  J 
Clarence  Webster. 

A  woman  stands  upon  the  veranda  01  a  house  with  her  arm 
about  a  post  at  the  corner,  apparently  taking  leave  of  a  man  who 
is  walking  away  carrying  an  umbrella  over  his  shoulder. 

166.  WOMAN  IN  WHITE  UNDER  A  SNOW-LADEN 
WILLOW  TREE. 

Not  signed.  About  1769.  Hashira-e.  Size  28%x4.  Lent  by  Clar¬ 
ence  Buckingham. 

In  his  later  years  Harunobu  gave  special  attention  to  de¬ 
signing  pillar  prints  (hashira-e) .  His  finest  works  in  this  form 
are  among  the  most  distinguished  performances  of  any  artist 
in  the  Ukiyo-e  school. 

16;.  WOMAN  IN  NIGHT  GARMENTS  READING  A  LET¬ 
TER. 

Signed:  Suzuki  Harunobu  ga.  Publisher:  Eijudo.  About  1769. 
Hashira-e.  Size  26x4 24-  Lent  by  J.  Clarence  Webster. 

168.  WOMAN  IN -WINTER  GARB.  :  . 

Signed :  Harunobu  ga.  Stamp :  Harunobu.  About  1769,  Ha- 
shira-e.  Size  25x5j4-  Lent  by  Clarence  Buckingham. 

When  first  printed  the  colour  of  the  outer  kimono  was  blue 
upon  which  the  pattern  of  snow-laden  pine  trees  cut  out  sharply. 

169.  GIRL  WITH  A  YELLOW  UMBRELLA  IN  A  THUN¬ 
DER  STORM. 

Signed:  Harunobu  ga.  About  -  1769.  Hashira-e.  Size  26^4x5. 
Lent  by  Clarence  Buckingham. 

-60- 


SUZUKI  HARUNOBU 


170.  SHIRAI  GOMPACHI. 

Signed:  Suzuki  Harunobu  ga.  About  1770.  Hashira-e.  Size 
26%x4%.  Lent  by  Frank  Lloyd  Wright. 

This  print,  which  is  entitled  “Takano  Tamagawa,”  is  one 
of  a  series  called  “Fuzoku  mu  Tamagawa,”  or  six  popular  ver¬ 
sions  of  the  rivers  Tama. 

171.  WOMAN  PLAYING  WITH  A  PET  KITTEN. 

Signed :  Harunobu  ga.  About  1770.  Hashira-e.  Size  26%x4%. 
Lent  by  Frank  Lloyd  Wright. 

This  is  in  the  early  colouring,  beni  and  a  warm  orange-yellow 
predominating. 

172.  VERY  TALL  WOMAN. 

Signed :  Harunobu  ga.  About  1770.  Hashira-e.  Size  27x5. 
Lent  by  Frank  Lloyd  Wright. 

173.  VERY  TALL  WOMAN. 

Signed :  Harunobu  ga.  About  1770.  Hashira-e.  Size  27x4%. 
Lent  by  Frank  Lloyd  Wright. 

174.  WOMAN  HOLDING  A  DOLL. 

Signed:  Suzuki  Harunobu  ga.  About  1770.  Hashira-e.  Size 

27x4%.  Lent  by  Frank  Lloyd  Wright. 

Harunobu  now  tends  toward  the  securing  of  effects  by  sim¬ 
pler  means  and  the  abandonment  of  many  colour  blocks.  The 
red  lead  that  here  appears,  handled  with  delightful  restraint,  in 
combination  with  a  soft  purple,  now  faded  to  a  lovely  warm  gray, 
is  comparatively  new  to  his  palette.  A  few  years  later  it  be¬ 
came  for  a  time  the  favorite  pigment  of  the  print  designers. 
Copies  of  this  print  exist  in  very  different  colourings. 

175.  WOMAN  WITH  A  PET  MONKEY. 

Signed :  Suzuki  Harunobu  ga.  About  1770.  Hashira-e.  Size 

27%x4%.  Lent  by  Clarence  Buckingham. 

In  the  colour  scheme  of  the  first  editions  of  Harunobu’s  more 
important  works  yellow  was  often  a  dominant  note.  Here  two 
yellows  were  used  in  combination  with  purple  and  blue.  The 
fading  of  the  latter  two  into  neutral  citrines  only  adds  to  the 
beauty  of  the  print,  which  is  as  charming  in  line  as  in  colour. 

176.  WOMAN  WALKING  UNDER  AN  UMBRELLA  IN 
THE  SNOW,  r 

Signed:  Harunobu  ga.  Probably  1770.  Size  11x2%.  Lent  by 
J.  Clarence  Webster. 


-61- 


SUZUKI  HARUNOBU 


177.  GOMPACHI  MASQUERADING  IN  KOMUSO  COS¬ 
TUME  BEFORE  TWO  GIRLS  AT  A  WINDOW. 

Signed :  Harunobu  ga.  Probably  1770.  Size  1054x8.  Lent  by 
Clarence  Buckingham. 


178.  WOMAN  IN  A  GAUZE  KIMONO  STANDING  BY  A 
POT  OF  PINKS. 

Signed:  Suzuki  Harunobu  ga.  Publisher:  Eijudo.  About  1770. 
Hashira-e.  Size  2454x4?4-  Lent  by  Clarence  Buckingham. 


179.  THE  RECALL. 

Signed:  Harunobu  ga.  Probably  1770.  Size  llx3}4.  Lent  by 
Frederick  W.  Gookin. 

A  young  woman  about  to  enter  a  house  is  halted  by  a  young 
man  who  pulls  at  her  sleeve.  The  conventional  use  of  black  to 
represent  the  night  should  be  noted.  How  effective  it  is ! 

180.  DANCING  GIRL. 

Signed :  Harunobu  ga.  Probably  1770.  Size  15x10.  Lent  by  J. 
Clarence  Webster. 

This  print  reveals  a  new  aspect  of  Harunobu’s  work.  If  he 
could  have  lived  only  a  few  years  longer  who  can  say  what  fresh 
marvels  he  might  have  had  ill  store  for  us? 

181.  MUSUME  VENDOR  OF  SWEETMEATS  AT  THE 
ENTRANCE  TO  KASAMORI  TEMPLE. 

Signed:  Harunobu  ga.  Probably  1770.  Size  1154x6.  Lent  by 
Frederick  W.  Gookin. 


182.  WOMAN  CARRYING  A  TOY  SAIL  BOAT  AND  FOL¬ 
LOWED  BY  A  COMPANION  HOLDING  AN  UM¬ 
BRELLA  OVER  HER  HEAD. 

Large  print.  Signed:  Suzuki  Harunobu  ga.  About  1770.  Size 
14x1054-  Lent  by  Clarence  Buckingham. 

In  the  last  year  of  his  life  Harunobu  began  a  series  of  large 
prints  of  which  this  is  one,  but  so  far  as  we  know  he  designed 
only  a  few  of  them  before  death  brought  his  labors  to  a  close. 

183.  SHIRAI  GOMPACHI. 

Signed :  Suzuki  Harunobu  ga.  About  1770.  Hashira-e.  Size 
2754x4^4-  Lent  by  Frederick  W.  Gookin. 

In  this  marvellous  print  Harunobu  surpasses  himself.  It  is 
perhaps  his  finest  Work,  masterly  in  its  rare  combination  of 


SUZUKI  HARUNOBU 


strength,  sweetness  and  grace,  beautiful  in  line,  form,  and  colour, 
and  having  besides,  that  greatest  charm  of  all,  simplicity. 

The  subject  is  Shirai  Gompachi,  the  ronin  lover  of  the  beauti¬ 
ful  Komurasaki.  The  story  of  their  attachment  is  familiar  to 
every  Japanese  and  is  excellently  told  for  English  readers  in 
Mitford’s  “Tales  of  Old  Japan.”  In  one  hand  the  young  man 
carries  a  basket  hat  (amigasa),  which  when  worn  rested  upon 
his  shoulders  and  effectively  concealed  his  features.  This  and 
the  flute  carried  in  his  other  hand  are  distinguising  features  of 
the  costume  of  the  komuso,  a  name  given  to  men  of  the  Santurai 
class  who,  having  committed  some  political  offense  or  other  crime, 
were  permitted  to  take  refuge  in  certain  asylums  known  as 
Komuso-dera.  Here  they  were  under  a  rule  as  strict  and  auto¬ 
cratic  as  in  any  prison,  but  they  had  a  certain  amount  of  liberty 
provided  they  did  not  abuse  the  privilege.  A  second  offense 
while  living  in  the  sanctuary  was  punishable  with  death.  The 
komuso  were  obliged  to  wear  a  prescribed  costume  by  which, 
when  they  went  abroad,  their  identity  was  entirely  hidden,  and,  as 
they  were  forced  to  live  by  begging,  a  flute  instead  of  the  voice 
was  used  to  attract  attention  to  their  need.  Gompachi  adopted 
this  costume  as  a  disguise  when  visiting  his  lady  love. 

184.  THE  LOVERS  KOMURASAKI  AND  GOMPACHI. 

Not  signed.  1770.  Hashira-e.  Size  27x424-  Lent  by  Clarence 

Buckingham. 

This  print  is  in  Harunobu’s  last  and  noblest  manner.  The 
composition  of  line  is  masterful,  the  treatment  of  the  black  masses 
strong  and  splendid.  Its  dignity  and  grace  steadily  grow  upon 
the  beholder  who  has  eyes  to  see.  Nothing  it  would  seem  at  first 
sight  could  be  easier  to  do;  few  things  it  will  be  perceived  after 
long  and  close  study,  could  well  be  more  difficult. 

SHOSHOKEN 

The  name  Shoshoken,  which  should,  perhaps,  be  pronounced 
Komatsuken,  is  probably  a  pseudonym  used  by  some  well-known 
artist  whose  identity  has  not  been  determined.  The  few  prints 
signed  in  this  way  are  all  works  of  distinction  and  were  done  in 
or  about  the  year  1764. 

185.  OIRAN  SUPPORTED  BY  TWO  ATTENDANTS. 

Signed:  Shoshoken  ga.  Also  by  the  printer:  Kinroku.  1764. 

Size  12*4x724.  Lent  by  Clarence  Buckingham. 

-63— 


SHOSHOKEN 


The  subject  is  a  popular  version  of  a  scene  in  the  palace  of  a 
nobleman,  a  Yoshiwara  belle  and  her  kamuro  taking  the  place  of 
the  lady  of  the  house  and  her  attendants.  The  year  Meiwa  ni 
and  the  numbers  of  the  months  appear  upon  the  garments  of  the 
kamuro.  In  design  the  print  is  elaborate,  and  both  engraving 
and  printing  are  done  with  great  care.  The  printer  Kinroku 
was  renowned  as  the  first  to  print  in  five  colours.  Usually  when 
the  signature  of  the  engraver  or  printer  appears  it  is  engraved 
upon  a  separate  block  and  imprinted  upon  a  few  copies  only.  In 
this  case  it  is  so  engraved  that  it  must  have  been  used  upon  the 
entire  edition. 

1 86.  AN  INCANTATION  (USHI  NO  TOKI  MAIRI). 

Not  signed.  1764.  Size  llx6JT  Lent  by  Frederick  W.  Gookin. 

A  young  woman  with  three  lighted  candles  upon  her  head, 
and  bearing  a  hammer  in  one  hand  while  she  holds  up  her  gar¬ 
ments  with  the  other,  is  turning  away  from  a  pine  tree,  in  the 
trunk  of  which  she  has  driven  three  nails  while  uttering  a  curse 
against  some  faithless  lover  or  hated  rival,  that  the  demons  of 
the  air  ( oni )  may  be  let  loose  against  the  object  of  her  wrath. 
(See  Nos.  325  and  106).  Overhead  a  storm  cloud  and  flashes  of 
lightning  are  suggested  as  well  as  the  artist  can  manage.  The 
numerals  for  the  large  months  of  1765  appear  upon  the  woman’s 
obi  (sash). 


KITAO  SHIGEMASA 

Kitao  Sasuke,  known  as  Shigemasa,  was  born  in  Yedo  in 
1740  and  began  his  career  as  an  employee  in  the  shop  of  Sawa- 
raya  Mohei,  the  leading  bookseller  and  publisher  (not,  however, 
of  Ukiyo-e  works)  in  Japan.  It  is  probable  that  he  was  em¬ 
ployed  because  of  his  extraordinary  skill  as  a  calligrapher,  and 
that  while  with  this  house  he  found  ample  opportunity  for  copy¬ 
ing  works  by  prominent  artists  and  studying  their  style.  For  a 
short  time  before  the  death  of  Shigenaga  he  was  a  pupil  in  his 
studio,  and  at  the  age  of  twenty  began  to  make  designs  for  actor 
prints  which  were  in  some  respects  an  advance  upon  any  similar 
works  by  the  older  artists.  Establishing  himself  at  Odenmacho, 
Nichome,  he  was  in  great  demand  as  a  calligrapher,  it  being 
said  that  in  the  three  capitals,  Yedo,  Kyoto,  and  Osaka,  there 
was  no  one  superior  to  him.  Much  of  his  time  was  given  to  book 

-64- 


NO.  183  N0*  2°7 

Harunobu  Koriusai 


l  i  !  ' 

v  -r i  y  .:.•  '  .  mar  ;  ■■•.  plao*  *; 

h  '  :i  ■■■'  \  'Jx.  3 n-?  her  ntfcrud  .  .  -rciwa  m 

-••  r.  re  of  lie  -•I'Sfh:-  appear  •.  ’*rr  of  ihe 

n  <Jit  ;^n  Utt  j>ti (ft  is  tlalv  fjci'  .v.  hott*  cns£t  ji*  :ug 
. 

o'  vJ;*  eijgr*vri  c.x  winter  .  »•  •> 

V<r.:  lOipi'htfe*  Upon  :«  k*  < •;  >y  1« 

4  ;>  o  eigriivcu  tljat  it  must  hav*.  O  . ■  the 


M  jrU  i'iiO 

•OKI  MAiRIi 

Fti-di'fkk  O  Go 

gici«.  a 

>  •  /•it  ••  crj»- .  - » 

with  fifcfci'  o 

••  kO  -  UpoU 

■  i  ■ 

■ 

t  •:  .  n  :  <J.y  -  •■.  vvhi!'. 

>/ii  ticW  os  Uj!  i  • 

•?Ot*  :?Ji  ti  . , 

i  ojfiuhiiC  fcv  *y  ;n 

r.;i  pine  vec* 

iu  ihC 

ive  ifirte  na.  . 

■O’  utt 

a  cotK 

VOS  .tot 
' 

:i  jrv  >  t«  :  ■  ‘1  .  ’  > 

««n  'iOO-f  .  •  til  -  i 

JpO  •  v  UK,,ia  >* 

f°<  1  •.  ><nh. 

iScl/hO-H 

ijdoiriltfeH 

Jf,k  f4.ty  i‘  ■ 

."he 

man's 


v.  k:  •  -  H*rft  •»  Ye.- to  t«t 

_ 

jf,a  ;  Ji  i  jifo-'-'hlr  th,‘i  I'.--  wsi:  c.jj* 

f  hirt  t*j‘ it&rrtfflW*  »■<•«:  /*  a  ca$lO  «jr>*r,  aialf; 

.  :  }.  ••  '  til  !<»  C"*.port=;  y  ;»•-  copy - 

rrffn'r-  ;-••  ari >•  V-  *M:  *  ■■'.•  '  #H  -  1  i«  For  .1 

. 

ft  ••!':  "f  '  JK  <  '  a  Ota  .if-  J'f  J»0  '■ : 


SHIGEMASA 


illustration.  He  made  designs  for  at  least  twenty-seven  works, 
one  of  them,  the  “Seiro  Bijin  Awase  Kagami,”  which  he  illus¬ 
trated  in  collaboration  with  Katsukawa  Shunsho,  standing  at 
the  head  of  Japanese  book-making.  His  prints  are  comparatively 
few,  but  of  distinguished  character.  In  later  life  he  resided  at 
Otsukamura,  Negishi,  then  a  suburb  of  Yedo.  He  died  in  1820, 
aged  80. 

187.  BANDO  HIKOSABURO  AS  WATASHIMORI  NO 
TOMOKICHI,  ALIAS  FUGITARO. 

Signed:  Kitao  Shigemasa  ga.  About  1762.  Hoso-e  from  three 
colour  blocks.  Size  YZY^Vi.  Lent  by  Clarence  Buckingham. 

188.  ICHIKAWA  YAOZO  AS  MUREGAMI  CHOHACHIRO 
AND  IWAI  HANSHIRO  AS  MUME  NO  OYOSHI. 
Signed :  Kitao  Shigemasa  ga.  Publisher :  Ise-ya.  About  1763. 
Hoso-e  from  three  colour  blocks.  Size  12J4x5 Lent  by  Fred¬ 
erick  W.  Gookin. 


189.  BANDO  HIKOSABURO,  ALIAS  SHINSUI,  IN  THE 
TITLE  ROLE  OF  THE  DRAMA  “SATSUMA  GEN- 
GOBEI.” 

Signed :  Kitao  Shigemasa  ga.  Publisher :  Murataya.  Hoso-e 
from  three  colour  blocks.  Size  12J4x55^.  Lent  by  Frederick  W. 
Gookin. 

190.  THE  CELEBRATED  CALLIGRAPHER  ONO  NO 
DOFU  IN  THE  GARB  OF  A  YOUNG  MAN  OF  FASH¬ 
ION,  WALKING  ON  THE  BANK  OF  A  STREAM 
AND  WATCHING  A  FROG  LEAPING  IN  AN  EF¬ 
FORT  TO  CATCH  A  WILLOW  BRANCH. 

Signed :  Kage  ( ?)  ga.  1764.  Size  10 Ux7}4.  Lent  by  Frederick 
W.  Gookin. 

Shigemasa  was-  not  backward  in  profiting  by  Harunobu’s  ex¬ 
periments.  This  print  is  a  calendar  for  Meiwa  second ;  the  char¬ 
acter  dai  (large)  and  the  numerals  for  the  large  months  being  in¬ 
troduced  into  the  pattern  on  the  man’s  kimono. 


191.  GIRLS  ARRANGING  FLOWERS. 

Signed :  Shigemasa  ga.  About  1768.  Size  10^x7j4.  Lent  by  Clar¬ 
ence  Buckingham. 

Here  Shigemasa  imitates  Harunobu’s  style,  but  he  was  too 
strong  a  man  to  follow  anyone’s  lead  except  momentarily. 

-65— 


SHIGEMASA 


192.  DANCING  GIRL  WITH  DOUBLE  UMBRELLAS 
DANCING  THE  HORAKU. 

N#t  signed.  About  1775.  Size  9x6j4.  Lent  by  Frederick  W. 
Gookin. 

Shigemasa  has  now  developed  his  own  characteristic  style. 


193.  TWO  GIRLS  DANCING  THE  MIYAKO  DORI  (SEA 
GULL  DANCE). 

Not  signed.  About  1775.  Size  13x9j4.  Lent  by  Frederick  W. 
Gookin. 


194.  TWO  GEISHAS  IN  SUMMER  COSTUME. 

Series:  Tosei  Mitate  Bijin  Hakkei.  Not  signed.  1776.  Size  15x 
10.  Lent  by  Clarence  Buckingham. 

This  print  bears  an  inscription,  probably  contemporary,  indi¬ 
cating  the  year  1776  as  its  date.  It  is  stated  that  the  transparent 
fabric  worn  by  the  girl  who  is  standing  was  first  depicted  in 
colour  prints  in  the  year  An-ei  5  (1776). 


195.  TWO  WOMEN  STANDING,  ONE  HOLDING  A  SAM- 

isen  Listens  to  her  companion  who  is 

READING  FROM  A  BOOK. 

Not  signed :  '  Probably  1777.  Size  lSy^xlOj^.  Lent  by  Clarence 
Buckingham. 

This  is,  perhaps,  Shigemasa’s  masterpiece.  In  it  he  reaches 
the  height  of  his  power.  Note  how  the  patterns  on  the  draperies 
supplement  the  rhythm  of  the  black  outlines. 


196.  TSUZUMI  PLAYER. 

Not  signed:  About  1778.  Size  15x11.  Lent  by  Clarence  Bucking¬ 
ham. 

Shigemasa’s  brush  strokes  may  almost  be  described  as  me¬ 
lodious.  They  are  not  so  vigorous  as  Kiyonaga’s,  but  more  flow¬ 
ing  and  more  serene. 

197.  TWO  GEISHAS' STANDING. 

Series;  To-zai-nan-boku  Bijin.  Not  signed.  About  1779.  Size 
15x10: 1  Lent  by  J.  Clarence  Webster. 

The  artist’s  title  is  “toho  no  bijin,” — Eastern  beauties,  that  is 
to  say,  beautiful  women  of  Yedo,  the  Eastern  capital. 

-66- 


KORIUSAI 

Isoda  Shobei  Masakatsu,  known  as  Koriusai  (Lake  dragon 
studio),  was  a  samurai,  and  until  he  became  a  ronin  was  a  re¬ 
tainer  of  the  noble  family  of  Tsuchiya  of  Ogawamachi,  Yedo. 
Breaking  away  from  the  restraints  that  were  imposed  upon  men 
of  his  class,  he  entered  the  studio  of  Nishimura  Shigenaga,  but 
soon  left  it  to  become  a  pupil  of  Harunobu,  and  was  given  the 
name  of  Haruhiro.  His  early  work  is  so  much  like  that  of  Haru¬ 
nobu  that  if  not  signed  it  might  well  be  taken  for  it.  He  had  a 
studio  at  Yonezawa-cho,  Yagenbori,  Ryogoku,  close  to  that  of 
Harunobu,  and  after  Harunobu’s  death  he  was  for  more  than  a 
decade,  until  distanced  by  Kiyonaga,  the  foremost  artist  of  the 
school,  equalled  only  by  Shunsho  and  Buncho,  whose  work  lay 
in  a  different  field,  and  by  Shigemasa,  who  produced  compara¬ 
tively  little.  Koriusai  was  particularly  skillful  as  a  designer  of 
pillar  prints  (hashira-e).  He  was  also  a  colourist  of  the  first 
rank.  About  1881  he  gave  up  print  designing  and  devoted  his 
attention  to  painting,  and  was  given  the  honorary  title  of  Hokyo. 
The  date  of  his  death  is  not  known. 


198.  A  DUET. 

Signed:  Koriu  ga.  About  1769.  Size  8^4x11.  Lent  by  Frederick 
W.  Gookin. 

Two  girls  are  seated  in  a  room,  one  playing  upon  a  kokyu 
and  the  other  upon  a  koto  (a  kind  of  harp). 

"  **rlt  !.  "  •;  •  •  . .ui'orr-  >•/-,  •  '*» 

.ooomfid  *,ni  k  n!bor a  gnrrbv;  srlj  moil  obcrn  quo*.  ,  bus 

199.  TWO  GIRLS  IN  A  BOAT  TALKING  TO  A  THIRD 
ATTIRED  IN  THE  COSTUME  OF  GOMPACHI, 
WHO  STANDS  ON  THE  RIVER  BANK. 

Signed :  Koriusai  ga.  About  1771.  Size  10 y2x7}4.  Lent  by  J. 
Clarence  Webster. 


200.  GIRL  ARRANGING  FLOWERS  IN  A  LARGE 
BRONZE  VASE. 

Signed:  Koriusai  ga.  About  1771.  Size  10j4x7%.  Lent  by  J. 
Clarence  Webster. 

tWA  TT  >  t.  T  T<TZ  t  0 KTQPf AT2  R/IHVO  T  DMUOY  raz 

201.  VIEW  OF  FUJI  SAN  FROM  LAKE  HAKONE  AT 
SUNRISE. 

Signed:  Koriu  ga.  About  1772.  Size  914x7j4.  Lent  by  John  H. 
Wrenn.  f  '  rtt 

-67- 


KORIUSAI 


T  / 


i.  JT\  J  i.  J  I  '  ! 

202.  HO-O  FLYING  OVER  THE  SEA  AT  SUNRISE, 
Signed :  Koriu  ga.  About  1772.  Size  10j4x8.  Lent  by  John  H. 
Wrenn. 

Here  we  have  a  work  in  classical  style.  The  prints  of  the 
series  to  which  this  belongs  are  held  in  high  esteem  by  collectors. 

1  xjr.'.'  .r: -mirriam  'o  orbing  3nl  Dbialrrs  • 

203.  THE  WHITE  COCK. 

Signed :  Koriusai  zu.  About  1772.  Size  1014x8.  Lent  by  John  H. 
Wrenn.  '. 

The  cock  is  shown  flying  through  the  air  and  about  to  alight 
upon  a  veranda,  whereon  is  a  pot  of  fukujitso  (Adonis  sibirica) 
in  bloom.  The  sky,  now  a  lovely  buff  hue,  was  when  first  printed, 
a  soft  blue.  In  its  original  condition  the  effect  was  doubtless 
stronger,  the  white  bird  standing  out  in  clear  relief  against  the 
blue,  but  it  could  hardly  have  been  so  exquisite  as  it  is  now. 

204.  TWO  COCKS  FIGHTING. 

Signed :  Koriu  ga.-  :About  1772,  Size  1014x8 14.  Lent  by  Clarence 
Buckingham.  ■ 


205.  GIRLS  DIGGING  IN  THE  SNOW  FOR  YOUNG  BAM¬ 
BOO  SHOOTS. 

Series:  Fuzokti ; Yariiato  Nijushi  ko.  Signed:  Koriusai  ga.  About 
1772.  Size  10l4x8.  Lent  by  Clarence  Buckingham. 

The  subject  is  an  Ukiyo-e  version  of  the  legend  of  Moso 
(Chinese  Meng  Tsung)  one  of  the  twenty-four  paragons  of 
filial  piety.  Moso’s  mother  having  fallen  ill  during  the  winter 
and  craving  a  soup  made  from  the  young  shoots  of  the  bamboo, 
he  betook  himself  weeping  to  a  neighboring  bamboo  grove,  when 
lo!  his  filial  affection  moving  heaven  and  earth,  the  frozen  soil 
suddenly  burst  at  his  feet  and  an  abundance  of  succulent  shoots 
appeared,  r 

206.  GIRL  HANGING  UP  MOSQUITO  NETS  AT  BED 

-TIME.  T/,  ;ro 

Signed:  Koriu  ga.  About  1772.  Size  101 4x7?4.  Lent  by  Frank 
Lloyd  Wright.  1  ' 

T  yd  tno.1  asi2  .IVI  InodfA  , iB87no?f  :L  .  ,:  . 

207.  YOUNG  LOVERS  STANDING  UNDER  A  CHERRY 
TREE. 

Signed:  Koriusai  ga.  Hashira-e.  Size  2814x5%.  Lent  by  Frank 
Lloyd  Wright. 

This  is  one  of  Korkisai's  finest  works,  large  in  feeling,  ex¬ 
quisite  in  colour  and  in  composition  of  line  and  mass.-  ■ 

-£8- 


KORIUSAJ. 

208.  TALL  GIRL  PLAYING  BATTLEDORE  AND  SHUT¬ 
TLECOCK. 

Signed :  Koriusai  ga.  About  1772.  Hashira-e.  Size  26x5.  Lent  by 
J.  Clarence  Webster. 

209.  YOUNG  MAN  ON  THE  BRINK  OF  A  RIVER  HOLD¬ 
ING  A  GIRL  ON  HIS  BACK  AND  LOOKING  AT  HER 
FACE  REFLECTED  IN  THE  WATER  BELOW. 

Signed :  Koriusai  ga.  About  1772.  Hashira-e  Size  26j^x5.  Lent 
by  Clarence  Buckingham. 

210.  YOUNG  MAN  PLAYING  A  FLUTE  TO  ATTRACT  A 
WOMAN  WHO  STANDS  INSIDE  A  GATE. 

Signed :  Koriusai  ga.  About  1772.  Hashira-e.  Size  26%x5.  Lent 
by  Frank  Lloyd  Wright. 

This  is  an  analogue  of  Ushiwaka  playing  before  Jorurihime, 
(See  No.  36). 

21 1.  WOMAN  STANDING  IN  THE  CORNER  OF  A 
ROOM. 

Signed :  Koriusai  ga.  About  1773.  Hashira-e.  Size  27j4x4J4. 
Lent  by  J.  Clarence  Webster. 

212.  YO.UNG  MAN  IN  A  WINDOW  LOOKING  AT.  A  GIRL 
WALKING  BY. 

Signed :  Koriusai  ga.  About  1773.  Hashira-e.  Size  26%x4y$. 
Lent  by  J.  Clarence  Webster. 

'•  mnEtiaflL.Ua  .•?!». sO  yd 

213.  LADY  WITH  A  PET  CAT. 

Signed:  Koriusai  ga.  About  1773.  Hashira-e.  Size  28j4x5y6. 
Lent  by  Frank  Lloyd  Wright. 


214.  LADY  HANDING  A  LETTER  TO  A  YOUNG  MAN 
WHO  KNEELS  TO  RECEIVE  IT. 

Signed:  Koriusai  ga.  About  1773.  Hashira-e.  Size  28j4x5}4. 
Lent  by  Frank  Lloyd  Wright. 

The  variety  of  Koriusai’s  compositions  in  this  form  is  inex¬ 
haustible.  This  and  the  following  number  are  among  his 
most  charming  works.  •  ,.-t 

215.  WOMAN  COMING  FROM  THE  BATH. 

Signed:  Koriusai  ga..  About  1773.  Hashira-e..  Size  26^x4^. 
Lent  by  Clarence  Buckingham. 


KORIUSAI 


216.  WOMAN  BEARING  A  LETTER  DESCENDING  A 
FLIGHT  OF  STEPS,  WHILE  A  YOUNG  MAN  ON  A 
BALCONY  ABOVE  CLAPS  HIS  HANDS  TO  CALL 
HER  BACK. 

Signed :  Koriusai  ga.  About  1773.  Hashira-e.  Size  28*4x5JA- 

Lent  by  Clarence  Buckingham.' 

217.  GIRL  ENTERING  A  HOUSE,  CARRYING  A  LETTER 
BOX  OF  BLACK  LACQUER. 

Signed:  Koriusai  ga.  About  1773.  Hashira-e.  Size  28^4x5^. 

Lent  by  J.  Clarence  Webster. 

218.  THE  EVENING  BELL  AT  MIIDERA. 

Series :  Omi  Hakkei.  Signed :  Koriu  ga.  About  1773.  Size  10j4 
x7^4.  Lent  by  Frank  Lloyd  Wright.  >  '  >’  1 

Here  we  have  a  classical  theme,  one  of  the  eight  famous  scenes 
on  Lake  Biwa,  turned  topsy-turvy  and  made  into  a  jest.  In¬ 
stead  of  the  usual  landscape  the  scene  is  a  young  woman  lean¬ 
ing  forward  to  speak  to  a  young  man  seated  upon  the  floor  of  a 
room,  one  side  of  which  is  open  showing  a  glimpse  of  temple 
roofs  above  the  cloud  that  envelops  the  middle  distance. 

.T>1*.usW  .T  y  ’  maJ 

219.  THE  OIRAN  KARAUTA  (CHINESE  POEM)  AND 
KUREYUKI  (EVENING  SNOW)  WALKING  IN  THE 
SNOW,  A  MAN  SERVANT  ATTENDING  THEM. 

Series:  Seiro  Meifu  Hakkei,  or  Eight  Famous  Beauties  of  the 
Yoshiwara.  Signed:  Koriu  ga.  About  1773.  Size  10 7ix7j4.  Lent 
by  Clarence  Buckingham. 

220.  WOMAN  HOLDING  A  LANTERN  AND  TURNING 
TO  LOOK  AT  THE  SHADOWS  OF  TWO  MEN  ON 
THE  WINDOW  PANES. 

Signed :  Koriusai  ga.  About  1773.  Hashira-e.  Size  27x4^4.  Lent 
by  Frank  Lloyd  Wright. 

TI  3V'  iOllH  01'  1  IK// 

221.  GIVING  A  I.TGHT.  ,  ,  . .  • 

Signed:  Koriusai  ga.  About  1773.  Hashira-e.  Size  27x4^4.  Lent 
by  Frank  Lloyd  Wright. 

The  subject  of  this  print  is  the  same  as  that  of  No.  158,  by 
Harunobu. 

222.  YOUNG  MAN  CARRYING  A  FALCON. 

Signed:  Koriusai  ga.  About  1773.  Hashira-e.  Size  27x4^4.  Lent 
by  Frank  Lloyd  Wright. 


-70- 


KORIUSAI 

223.  USHIWAKA  PLAYING  THE  FLUTE  TO  ATTRACT 
THE  PRINCESS  JORURIHIME. 

Signed :  Koriusai  ga.  About  1774.  Hashira-e.  Size  27^x424. 
Lent  by  Frank  Lloyd  Wright. 

224.  STREET  SCENE  IN  THE  YOSHIWARA. 

Signed :  Koriusai  ga.  About  1794.  Hashira-e.  Size  27x4^4.  Lent 
by  Frank  Lloyd  Wright. 

225.  WOMAN  STANDING  INSIDE  A  SNOW-LADEN 
GATE,  WATCHING  A  YOUNG  MAN  CARRYING  AN 
UMBRELLA. 

Signed :  Koriusai  ga.  About  1774.  Hashira-e.  Size  27?4x5.  Lent 
by  Clarence  Buckingham. 

226.  WOMAN  WALKING  IN  THE  SNOW. 

Signed :  Koriusai  ga.  About  1775.  Size  10 J4x7J4.  Lent  by  J. 
Clarence  Webster. 

Orange  now  becomes  predominant  in  Koriusai’s  colour 
schemes.  Here  it  contrasts  delightfully  with  the  blue  and  the 
white. 

227.  THE  SPY  GLASS  NOT  USED. 

Signed :  Koriusai  ga.  About  1775.  Size  10 J4x7J4-  Lent  by  J. 
Clarence  Webster. 

A  young  man  seated  upon  the  floor  of  a  room  having  one  side 
open  upon  a  balcony  is  gazing  at  a  girl  who  stands  before  him. 
The  artist  has  indicated  the  landscape  he  might  see  if  he  were 
looking  through  the  spy  glass  he  holds  to  his  eye. 

228.  TWO  WOMEN  ON  THE  VERANDA  OF  A  TEA¬ 
HOUSE  OVERLOOKING  THE  SUMIDA  RIVER. 
Signed :  Koriusai  ga.  About  1775.  Hashira-e.  Size  28x4^4.  Lent 
by  Frank  Lloyd  Wright. 

229.  YOUNG  MAN  AND  WOMAN  VIEWING  THE  SUN¬ 
RISE.  . 

Signed :  Koriusai  ga.  About  1775.  Hashira-e.  Size  28x4^4.  Lent 
by  Clarence  Buckingham. 


230.  THE  OIRAN  TAKIKAWA  AND  KATARAI  OF 
OGIYA. 

Signed:  Koriusai  ga.  Publisher:  EijudS.  About  1776.  Size  15x 
10.  Lent  by  Clarence  Buckingham. 

-71— 


KORIUSAI 

231.  THREE  YOUNG  WOMEN  READING  A  LETTER. 
Signed:  Koriu  ga.  About  1776.  Hashira-e.  Size  27y2x4%. 
Lent  by  Clarence  Buckingham. 

In  Japan  letters  are  written  upon  long  strips  of  paper,  which, 
when  unrolled,  can  be  passed  from  hand  to  hand  as  shown  in 
this  picture. 

tn»  J  ssi2 '  .§-  s  ;Fri»fiK  'ks  I  J  trod  A  ’  Iq  2s?i 

232.  THE  OIRAN  SHIZUKA  OF  TAMAYA. 

Signed:  ICoriusai  ga.  Publisher:  Eijudo.  About  1776.  Size  15x 
10.  Lent  by  Frederick  W.  Gookin. 

In  his  line  composition  Koriusai  was  especially  expert  in,  so 
to  speak,  carrying  the  lines  through.  The  skillful  way  in  which 
the  lines  are  interwoven  and  the  eye  is  led  from  one  to  another 
is  well  shown  in  this  print. 

233.  THE  OIRAN  MOROKOSHI  AND  ATTENDANT 
PLAYING  WITH  A  SMALL  BOY.  ' 

Signed:  Koriusai  ga.  Publisher:  Eijudo.  About  1776.  Size  15x 
10.  Lent  by  John  H.  Wrenn. 

234.  TWO  GEf'SHAS. 

Signed:  Koriu  ga.  About  1777.  Hashira-e.  Size  27j4x5.  Lent  by 
Frank  Lloyd  Wright. 

235.  TWO  GIRLS  STANDING. 

Signed :  Koriusai  ga.  About  1777.  Hashira-e.  Size  27%x5.  Lent 
by  Frederick  W.  Gookin. 


236.  THE  OIRAN  KATSUYAMA  OF  YOTSUMAYA  AND 
ATTENDANTS  PLAYING  WITH  A  CAT. 

Signed:  Koriusai  zu.  Publisher:  Eijudo.  About  1778.  Size  15x 
10.  Lent  by  J.  Clarence  Webster. 

Here  again  the  subtleties  and  refinements  of  the  line  composi¬ 
tion,  repay  careful  study. 


237.  WOMAN  WITH  A  PET  MONKEY. 

Signed:  Koriusai  zu.  About  1778.  Size  39x6%.  Lent  by  Clarence 
Buckingham. 


238.  MOTHER  AND  BOY. 

Signed :  Koriu  ga.  About  1778.  Hashira-e.  Size  28%x4%.  Lent 
by  Frank  Lloyd  Wright. 


-72- 


e  *o 
m  *o 

P  Os 
>-* . 


Xfi 

cr 

p 

a 

in 

Sr* 

Cl 


«*r.  1*7*  •  5  t,  &OH  Un»  by  Cfcf 


t  W* 


•  ••* 


’•7 

& 

77 


KORIUSAI 


239.  TWO  WOMEN  UNDER  AN  UMBRELLA  IN  WIND 
AND  RAIN. 

Signed:  Koriusai  ga.  About  1780.  Hashira-e.  Size  28^4x4%. 
Lent  by  Frank  Lloyd  Wright. 

240.  OIRAN  AND  ATTENDANT. 

Signed:  Koriusai  ga.  About  1780.  Hashira-e.  Size  27x4^4.  Lent 
by  Frank  Lloyd  Wright. 

241.  A  POPULAR  VERSION  OF  YURANOSUKE  READ¬ 
ING  A  LETTER  WHICH  IS  READ  ALSO  BY  KU- 
DAYU  HIDDEN  BENEATH  THE  VERANDA,  AND 
KARU  SEATED  ON  THE  BALCONY  ABOVE. 

Signed:  Koriu  ga.  Publisher:  Eijudo.  About  1782.  Hashira-e. 
Size  28x5.  Lent  by  Frank  Lloyd  Wright. 

Kiyonaga’s  style  now  begins  to  be  reflected  in  Koriusai’s 
work.  The  subject  is  from  the  story  of  the  Forty-seven  Loyal 
Ronin  (Chushingura).  See  note  to  No.  102. 

242.  YOUNG  WOMAN  UNDER  A  SNOW-LADEN  UM¬ 
BRELLA  HALTING  WHILE  A  MAN  FASTENS  HER 
GETA. 

Signed:  Koriusai  ga.  Publisher:  Eijudo.  About  1782.  Hashira-e. 
Size  28j4x5.  Lent  by  Frank  Lloyd  Wright. 


KATSUKAWA  SHUNSHO 

Second  only  to  Harunobu  among  the  Ukiyo-e  artists  of  the 
Meiwa  period,  and  his  superior  in  some  qualities,  was  Katsu- 
kawa  Shunsho.  His  prints  form  a  parallel  series  to  those  of 
Harunobu,  though  in  a  different  field.  Indeed,  it  is  not  improb¬ 
able  that  some  of  the  innovations,  especially  in  the  colour  schemes, 
were  devised  by  Shunsho.  Of  his  life  few  details  are  known.  His 
personal  name  was  Yusuke,  and  he  was  a  pupil  of  the  painter 
Ratsu  Miyagawa  Shunsui.  Following  the  example  of  his  master 
he  combined  the  first  two  names  and  shortened  them  to  Katsu- 
kawa.  In  early  life  Jae  was  very  poor  and  lived  in  the  house  of 
the  publisher  Hayashi  Hichiemon  at  Ningyo-cho,  Yedo.  His 
prints  prior  to  1765  are  not  very  good  and  could  hardly  have 
given  promise  of  the  splendid  work  that  came  from  his  hand  only 
a  little  later.  When  the  new  style  of  nishiki-e  prints  came  in,  he 
perceived  an  opening  for  his  talent  in  making  portraits  of  actors 

—73— 


SHUNSHO 

in  the  novel  manner.  His  first  efforts  in  this  style,  though  some¬ 
what  crude,  had  a  compelling  quality  that  brought  instant  recog¬ 
nition  and  he  very  soon  became  famous.  For  about  fifteen  years 
he  continued  to  produce  actor  prints  in  large  numbers,  and  also 
illustrated  a  number  of  books  in  collaboration  with  Shigemasa  and 
Ippitsusai  Buncho.  His  works  have  hardly  been  appreciated  yet 
as  they  deserve.  The  best  of  them  yield  a  pure  aesthetic  joy  that 
is  as  rare  as  it  is  precious.  In  his  later  years  Shunsho  gave  up 
print  designing  and  devoted  himself  to  painting.  He  died  on 
the  nth  day  of  the  12th  month  of  Kansei  4  (1792)  and  was 
buried  at  Saifukuji  Temple,  Asakusa.  Shunsho  often  used  a 
seal  shaped  like  a  jar,  upon  which  was  inscribed  the  ideograph, 
“Hayashi.”  For  this  he  obtained  the  nickname  Tsubo  (little 
jar)' 

243.  THE  ACTOR  ICHIKAWA  DANJURO. 

Signed  only  by  stamp:  Hayashi.  About  1766.  Size  12%x5}4.  Lent 
by  Frank  Lloyd  Wright. 

244.  THE  ACTOR  NAKAMURA  SUKEGORO. 

Stamp  only:  Hayashi.  About  1766.  Size  12%x5y£.  Lent  by  Frank 
Lloyd  Wright. 

245.  ICHIKAWA  YAOZO  IN  THE  ROLE  OF  SEIGEN. 
Signed :  ga.  Stamp :  Hayashi.  About  1766.  Size  12^4x6.  Lent  by 
Frederick  W.  Gookin. 

246.  THE  ACTOR  NAKAMURA  SUKEGORO. 

Signed:  Shunsho  ga.  Stamp:  Hayashi.  About  1767.  Size  12x5}4. 
by  Frank  Lloyd  Wright. 

247.  SCENE  FROM  A  DRAMA.  THE  ACTORS  ICHI¬ 
KAWA  DANJURO  AND  MATSUMOTO  KOSHIRO. 

Signed  only  by  stamp :  Hayashi.  About  1766.  Size  12%x5l4.  Lent 
by  Frank  Lloyd  Wright. 

248.  THE  ACTORS  ICHIKAWA  DANJURO  AND  NAKA¬ 
MURA  UTAEMON. 

Signed  only  by  stamp :  Hayashi.  About  1767.  Size  12^4x6.  Lent 
by  Frank  Lloyd  Wright. 

249.  THE  ACTOR  NAKAMURA  KATSUGORO. 

Signed :  Shunsho  ga.  Stamp :  Hayashi.  About  1767.  Size  12x5j4. 
Lent  by  Frank  Lloyd  Wright. 


SHUNSHO 


250.  SCENE  FROM  A  DRAMA.  THE  ACTORS  ICHI¬ 
KAWA  DANJURO  AND  ICHIMURA  UZAEMON. 

Signed  only  by  stamp:  Hayashi.  Publisher:  Yamamoto.  About 
1767.  Size  12%x6.  Lent  by  Frank  Lloyd  Wright. 


251.  THE  ACTOR  ICHIKAWA  DANJURO. 

Signed :  Katsukawa  Shunsho  ga.  Stamp :  Hayashi.  About  1767. 
Size  11^4x5^2.  Lent  by  Frank  Lloyd  Wright. 


252.  ICHIKAWA  DANJURO  AS  CHORYO  AND  SAWA- 

MURA  SOJURO  AS  KOSEKIKO. 

Signed:  Shunsho  ga.  Stamp:  Hayashi.  Probably  1767.  Size  13x6. 

Lent  by  Frederick  W.  Gookin. 

The  legend  of  the  meeting  of  Choryo  and  Kosekiko  has  many 
variants.  Choryo  is  the  Japanese  name  for  Chang  Liang,  one 
of  the  “Three  Heroes  of  China,”  who  is  said  to  have  lived 
about  200  B.  C.  One  day  when  crossing  the  bridge  of  Kahi,  there 
passed,  mounted  upon  a  sorry-looking  nag,  an  old  and  poor 
looking  man,  whose  shoe  fell  off  and  dropped  to  the  river  bank 
beneath  the  bridge.  Moved  by  pity  for  the  old  man,  Choryo 
picked  up  the  shoe,  though  keenly  feeling  the  indignity,  and 
replaced  it  upon  the  owner’s  foot.  As  a  reward  for  this  be¬ 
coming  spirit  the  old  man,  who  was  no  other  than  the  great  sage 
Hwang  Shi  Kung  (or  in  Japanese,  Kosekiko),  the  “Yellow 
Stone  Elder,”  gave  him  a  roll  of  manuscript  and  told  him  that 
the  man  who  read  the  book  would  become  a  councillor  of  the 
Emperor.  This,  in  fact,  Choryo  did  a  few  years  later,  when  the 
Han  dynasty  was  established.  Choryo  is  usually  represented  in 
this  scene  as  standing  upon  a  dragon.  The  dragon  being  the 
symbol  of  imperial  power,  this  signifies  that  Choryo  was  capable 
of  becoming  Emperor  did  he  so  desire.  Instead  he  resigned  his 
office  to  search  for  the  elixir  of  eternal  life,  and  as  this  involved 
giving  up  the  use  of  ordinary  food,  his  demise  soon  followed. 

253.  NAKAMURA  GAKUEMON  AS  SEIGEN. 

Signed:  Shunsho  ga.  Stamp:  Hayashi.  About  1768.  Size  12% x6. 

Lent  by  Clarence  Buckingham. 


254.  THE  ACTOR  ARASHI  OTOHACHI. 

Signed  only  by  stamp :  Hayashi.  About  1768.  Size  12%x5%.  Lent 
by,  Frederick  W.  Gookin. 


-75- 


SHUNSHO 

255.  PORTRAIT  OF  THE  FOURTH  ICHIKAWA  DAN¬ 
JURO  AS  SOGA-NO-GORO. 

Signed :  Katsukawa  Shunsho  ga.  Stamp :  Hayashi.  Publisher : 
Maruya  Jinpachi.  Probably  1769.  Size  15x10.  Lent  by  Frederick 
W.  Gookin. 

From  the  period  of  Genroku  (1688-1703)  down  to  very 
recent  times,  the  name  of  Ichikawa  Danjuro  has  been  borne  by 
nine  of  the  leading  tragedians  of  the  Japanese  stage.  The  name 
Danjuro  became  in  effect  a  title  of  honor  which  could  be  held 
only  by  the  head  of  the  Ichikawa  line  (or  family,  though  the  suc¬ 
cession  was  in  several  instances  to  men  taken  into  it  by  adop¬ 
tion).  Similarly  each  of  the  families  of  actors  had  a  name  more 
distinguished  than  the  others,  which  was  borne  by  its  chief  repre¬ 
sentative. 

256.  THE  ACTOR  ICHIKAWA  DANJURO. 

Signed  only  by  stamp :  Hayashi.  About  1769.  Size  12}4x5j4.  Lent 
by  Frank  Lloyd  Wright. 

257.  NAKAMURA  NAKAZO  IN  THE  ROLE  OF  RAIGO 
ASHARI. 

Signed :  Shunsho  ga.  Stamp :  Hayashi.  1770.  Size  1214x5 Lent 
by  Frederick  W.  Gookin. 

This  print  bears  an  inscription,  probably  contemporary,  giv¬ 
ing  the  actor’s  name  and  his  role,  the  name  of  the  theatre,  “Naka¬ 
mura  Za,”  and  the  date,  summer  of  1770. 

' «  __  ( ‘  f 4  ' !  0  i  * 

258.  THE  ACTOR  ARASHI  SANGORO. 

Signed :  Shunsho,  ga.  Stamp :  Hayashi.  About  1770.  Size  12%x 
5%.  Lent  by  Frederick  W.  Gookin. 

259.  THE  ACTOR  ARASHI  SANGORO. 

Signed :  Shunsho,  ga.  Stamp :  Hayashi.  About  1770.  Size  13x6. 
Lent  by  Frank  Lloyd  Wright. 

260.  THE  ACTOR  NAKAMURA  KATSUGORO.  r 

Signed :  Shunsho  ga.  Stamp :  Hayashi.  1770.  Size  12 54x6.  Lent 
by  Frank  Lloyd  Wright. 

261.  GOMPACHI  AND  KOMURASAKI. 

Signed:  Shunsho  ga.  1770.  Size  15}4xl0}4.  Lent  by  Frederick  W. 
Gookin. 

The  prints  designed  by  Shunsho  having  subjects  not  connect¬ 
ed  with  the  stage  are  rare.  This  one  has  been  remarkably  pre- 

—76— 


SHUNSHO 


served.  Except  that  the  sky  has  changed  from  blue  to  buff  this 
is  as  fresh  as  when  it  came  from  the  printer’s  hands. 

262.  THE  ACTOR  OTANI  HIROJI. 

Signed :  Shunsho  ga.  1770.  Size  1234x6.  Lent  by  Frederick  W. 
Gookin. 

- ■*  '  i  S 

263.  TWO  YOUNG  WOMEN  CROSSING  A  BRIDGE. 

Signed:  Shunsho  ga.  Publisher:  Wurukogata  ya.  The  red  stamps 
are  those  of  Wakai,  late  of  Tokyo,  and  Tadamasa  Hayashi,  late  of 
Paris,  both  well-known  dealers  and  connoisseurs.  1771.  Size  15x10. 
Lent  by  J.  Clarence  Webster. 

Apparently  Shunsho  made  very  few  prints  of  this  size  and 
character.  They  are  very  rare. 

264.  THE  ACTOR  NAKAMURA  MATSUE. 

Signed:  Shunsho  ga.  1771.  Size  11 34x5%.  Lent  by  Frank  Lloyd 
W  right. 


265.  THE  ACTOR  SEGAWA  KIKUNOJO  AS  AN  OIRAN 
STANDING  IN  AN  ATTITUDE  OF  DEJECTION  ON 
THE  BANK  OF  A  RIVER  BESIDE  A  SNOW-LADEN 
LANTERN. 

Signed :  Shunsho  ga.  1771.  Size  1214  x534.  Lent  by  Clarence 
Buckingham. 

Segawa  Kikunojo  was  the  stage  name  of  the  leading  repre¬ 
sentative  of  one  of  the  most  famous  families  of  actors,  who 
made  a  specialty  of  female  roles.  The  rise  of  the  theatre  in 
Japan  dates  from  the  beginning  of  the  sevententh  cntury,  when 
Sadoshima  Masakichi  erected  a  stage  in  the  dry  bed  of  the  river 
at  Kyoto.  From  this  circumstance  actors  were  called  Kawara- 
mono  (river-bed  folk  or  vagabonds),  an  epithet  denoting  the  con¬ 
tempt  in  which  their  profession  was  held.  Making  their  way  to 
Yedo,  Sadoshima  and  his  company  had  to  content  themselves  with 
a  site  in  the  Yoshiwara.  Until  1643  the  players  were  of  both 
sexes,  but  in  that  year  actresses  were  forbidden  by  law  to  act 
with  actors,  and  it  became  necessary  that  female  roles  should 
be  taken  by  men.  To  perfect  themselves  in  these  roles  the  men 
who  essayed  them  habitually  dressed  in  woman’s  clothes  and  fol¬ 
lowed  women’s  occupations  when  off  the  stage.  The  result  was 
that  the  simulation  became  unconscious  and  an  extraordinary  de¬ 
gree  of  excellence  was  attained,  the  deception,  says  Brinkley, 
“being  so  perfect  as  to  defy  the  closest  scrutiny.”  The  Kikunojo 

—77— 


SHUNSHO 

of  the  Horeki  (1751-1763)  and  Meiwa  (1764-1771)  periods 
attained  great  celebrity. 

266.  SEGAWA  KICHINOJO  AS  MATSUKAZE  IN  THE 
DRAMA  “SHIWO  KUMI”  (THE  WATER  CARRIER). 
Signed:  Shunsho  ga.  1771.  Size  12x5j4.  Lent  by  Frederick  W. 
Gookin. 

267.  ONOE  TAMIZO  AS  GOMPACHI. 

Signed :  Shunsho  ga.  1771.  Size  12%x5%.  Lent  by  Frederick  W. 
Gookin. 

Here  the  rare  beauty  of  the  colouring  is  due  to  the  fading  of 
the  purple  and  beni  and  the  transformation  of  the  orange  of  the 
framework  of  the  building  before  which  Gompachi  stands  into 
a  wonderful  purplish  hue. 

268.  THE  ACTOR  MATSUMOTO  IN  THE  ROLE  OF  A 
SAMURAI,  ALARMED  BY  THE  APPARITION  OF  A 
DRAGON  ARISING  FROM  A  WATER  BUCKET. 
Signed:  Shunsho  ga.  1772.  Size  I2%x5%.  Lent  by  Frank  Lloyd 
Wright. 

269.  ARASHI  SANGORO  AND  SEGAWA  KIKUNOJO  IN 
THE  DRAMA  “ASHIGARL” 

Signed:  Shunsho  ga.  1772.  Size  13x12.  Lent  by  J.  Clarence 
Webster. 

270.  YAMASHITA  KINSAKU  AS  KUZUNOHA. 

Signed:  Shunsho  ga.  1772.  Size  12x5%.  Lent  by  Frederick  W. 
Gookin. 

271.  IWAI  HANSHIRO  AS  A  GIRL  DANCING  THE  HO- 
RAKU. 

Signed:  Shunsho  ga.  1772.  Size  12%x5j4.  Lent  by  Clarence 
Buckingham. 

272.  ARASHI  OTOHACHI  AS  OKARU. 

Signed:  Shunshd  ga.  1772.  Size  13x6.  Lent  by  Frank  Lloyd 
Wright. 

273.  SEGAWA  KIKUNOJO  AS  A  WOMAN  HOLDING  A 
DEMON  MASK. 

Signed :  Shunsho  ga.  1772.  Size  12%x5j4-  Lent  by  Clarence 
Buckingham. 


-78- 


SHUNSHO 


274.  THE  ACTOR  NAKAMURA  NAKAZO. 

Not  signed.  Probably  1772.  14x634-  Lent  by  Frank  Lloyd  Wright. 
In  this  print  Shunsho  tries  the  experiment  of  an  unusual  size. 
The  background  was  blue  when  first  printed. 

275.  YAMASHITA  KINSAKU  IN  A  FEMALE  ROLE. 

Signed :  Shunsho  ga.  1772.  Size  12x5j4.  Lent  by  Frank  Lloyd 
Wright. 

276.  ICHIKAWA  MONNOSUKE  IN  THE  ROLE  OF  SHI- 
RAGIKU. 

Signed:  Shunsho  ga.  1772.  Size  1254x5 34-  Lent  by  Frederick  W. 
Gookin. 

An  inscription,  probably  contemporary,  gives,  besides  the  act¬ 
or’s  name  and  role,  the  date,  spring  of  1772. 

277.  ARASHI  HINAJI  IN  A  FEMALE  ROLE. 

Signed :  Shunsho  ga.  1772.  Size  1254x6.  Lent  by  Frank  Lloyd 
W  right. 

278.  NAKAMURA  TOMITURO  IN  THE  ROLE  OF  SHI- 
ZUKA. 

Signed:  Shunsho  ga.  1772.  Size  1254x6.  Lent  by  Frederick  W. 
Gookin. 

279.  THE  ACTOR  ARASHI  SANGORO  AS  A  MAN  CAR¬ 
RYING  A  HIBACHI  (BRAZIER). 

Signed:  Shunsho  ga.  1772.  Size  13x6.  Lent  by  Frederick  W. 
Gookin. 

280.  NAKAMURA  KATSUGORO  AS  GOMPACHI. 

Signed :  Katsukawa  Shunsho  ga.  1772.  Size  13x6.  Lent  by 
Frank  Lloyd  Wright. 

281.  THE  ACTOR  ONOE  TAMIZO. 

Signed :  Shunsho  ga.  Publisher :  Maruya  Jinpachi.  1772.  Size 
12x514.  Lent  by  Frank  Lloyd  Wright. 

282.  THE  ACTOR  MATSUMOTO  KOSHIRO. 

Signed:  Shunsho  ga.  1772.  Size  12x6.  Lent  by  Frank  Lloyd 
Wright. 

283.  NAKAMURA  TOMIJURO  AS  TENSHOjO. 

Signed :  Katsukawa  Shunsho  ga.  1772.  Size  12x5j4.  Lent  by 
Frederick  W.  Gookin. 


-79— 


SHUNSHO 

284.  SEGAWA  KIKUNOJO  as  MAIZURA  IN  THE  DRAMA 
“FURISODE  KISARGI  SOGA.” 

Signed :  Katsukawa  Shunsho  ga.  Stamp :  Hayashi.  1772.  Size 
12*4x5}i.  Lent  by  Clarence  Buckingham. 

Here  also  a  contemporary  inscription  gives  the  actor’s  name, 
role,  the  title  of  the  drama,  and  the  date,  spring  of  1772. 

285.  THE  ACTOR  ICHIKAWA  MONNOSUKE. 

Signed:  Shunsho  ga.  1773.  Size  1214x534-  Lent  by  Frederick  W. 
Gookin. 

286.  SEGAWA  KIKUNOJO  IN  THE  TITLE  ROLE  OF 
THE  DRAMA  “UMEGAI.” 

Signed :  Shunsho  ga.  1773.  Size  1214x514.  Lent  by  Frederick  W. 
Gookin. 

The  story  of  Umegai’s  Chozubachi  (water  holder)  is  familiar 
to  every  Japanese.  Her  lover  being  too  poor  to  purchase  her  re¬ 
lease  from  the  Yoshiwara  and  marry  her,  she  sold  her  soul  to 
King  Ema,  who  rules  over  Jigoku,  the  Buddhist  Hades,  and  lo! 
her  chozubachi  sent  into  the  air  a  shower  of  gold  pieces  (koban). 

287.  THE  ACTOR  OTANI  HIROJI. 

Signed:  Shunsho  ga.  1774.  Size  12j4x6.  Lent  by  Frank  Lloyd 
Wright. 

288.  NAKAYAMA  KUNISHIRO  AS  JIHEI. 

Signed:  Shunsho  ga.  1774.  Size  12*4x6.  Lent  by  Frederick  W. 
Gookin. 

289.  THE  ACTOR  NAKAMURA  KATSUGORO. 

Signed:  Shunsho  ga.  1774.  Size  1214x534-  Lent  by  Frederick  W. 
Gookin. 

290.  NAKAMURA  TOMIJURO  IN  A  FEMALE  ROLE. 
Signed:  Shunsho  ga.  1774.  Size  13x6.  Lent  by  Frank  Lloyd 
W  right. 

291.  ICHIKAWA  MONNOSUKE  IN  A  FEMALE  ROLE. 
Signed :  Shunsho  ga.  1774.  Size  12j4x6.  Lent  by  Frank  Lloyd 
Wright. 

292.  YAMASHITA  KINSAKU  IN  A  FEMALE  ROLE. 
Signed:  Shunsho  ga.  1774.  Size  13x6.  Lent  by  Frank  Lloyd 
Wright. 


-80- 


w 

CT* 

3 

3 

in 

Cl 


2 

o 

to 

^4 

o 


w 

3" 

3 

3 

m 

3"* 

Cl 


3 

o 

o~> 

to 


05 

3" 

3 

3 

in 

3J 

Cl 


tzS 

o 

JO 

ON 

Cn 


..'A*.  'OSCU-.OJO  i 
■  -  K  i  •-  .»>£  l.  iSAitt  v 


a  jn;  i'.'  Qj  « 

s 

r.  n: 


:  m  \  XX7  THE  DRAMA 

03 

13  "V  Ha  772,  :  * 


H  Tt  a  coo  J  em 


<  -  '.lie  :<•  ...  avj  >'  9  .  £ 


oame, 


'  Y  K  ICK;  Wv.v  vfONX 
.’'I'M.  .  .  'i.  Sue  ’X/ixfiv 


V  .AW A  ,KI KUNOjO  IN  THE  TITLE 

s  '  DRAMA 


cO 


S,S 

1= 


rick  W. 

»  OF 


.  xiirus.hr';:  '  'J  V  Lrnr  by  .  ;c 

>  •.  >t  *: 

•  Hr.  CgiuS  C  h!  ' •  Ar _  is  aml<':ar 

;.j  ;  •.?  •••  «••,  iirr  (Over  fce.u' i.v*  :■  ■#  >•->  p-.o.tv<v;.  1 

U  ;■•  u  V  .*!  1.  »r*  s»4  nut  y  lur,  H.e  her  ■  ■  i*  «• 

. 

hi  cho<-  ..‘hi  ?  ns  "  .  «ver  or  ro!  •' -«&h  Vo-' '*nj. 


(A 


a 

<\J 


‘"try. 


v  ■’ 


r'  C 

X  AS  ill 


&  / . 


WSfc  K 


THE  ACT  R  N-iK  MURA  ivA  i tX'ORO 

'  r.:. .  'if  ;  i  V,?  .  ■  :tr  ;  7  ,  .  vfc  vV 


ii/  •■-H  R...  TO® 

ui  tiii. 


Do.nl 


:'K  \*-i  \  ;v3i,'  ; ,  :  »>. 

Sh-ii;  5'?-  ,0i  17H 

.  \  Ui.xSH'TA  K'NS.Mv 

*v  •is.ir 


„  03 

5  "a 


2  v;. 


**  5? 

xO  *-— 
r°  » 


/ 


SHUNSHO 


293.  THE  ACTOR  ONOE  MATSUZO  IN  A  FEMALE  ROLE. 

Signed:  Shunshd  ga.  1774.  Size  13x6.  Lent  by  J.  Clarence 

Webster. 

294.  ICHIKAWA  DANJURO. 

Signed:  Shunsho  ga.  1774.  Size  13x6.  Lent  by  J.  Clarence 

Webster. 

295.  NAKAMURA  KATSUGORO  AS  JO. 

Signed:  Shunsho  ga.  1774.  Size  12^x534.  Lent  by  Frederick  W. 
Gookin. 

Jo  and  Uba,  the  spirits  haunting  the  pine  trees  of  Takasago 
in  Banshu,  and  of  Sumiyoshi  in  Settsu,  are  frequently  represent¬ 
ed  in  Japanese  art.  They  are  usually  shown  as  a  wrinkled  old 
couple,  Jo  with  a  rake  and  Uba  with  a  broom. 

296.  THE  ACTOR  OTANI  MARUJU. 

Signed:  Shunsho  ga.  1774.  Size  13x6.  Lent  by  Frederick  W 
Gookin. 

297.  ICHIKAWA  DANJURO  AS  SHIN  NO  SHIKO. 

Signed :  Katsu  Shunsho  ga.  1774.  Size  1214x524-  Lent  by  Frank 
Lloyd  Wright. 

298.  ICHIKAWA  DANJURO  AS  GOMPACHI. 

Signed:  Shunsho  ga.  1774.  Size  1214  x524-  Lent  by  Frederick  W. 
Gookin. 

299.  THE  ACTOR  SEGAWA  KIKUNOJO. 

Signed :  Shunsho  ga.  1774.  Size  1214x524.  Lent  by  Frank  Lloyd 
Wright. 


300.  THE  ACTOR  ICHIKAWA  DANJURO  GAZING  AT 
HIS  IMAGE  REFLECTED  IN  WATER  IN  A  CHOZU- 
BACHI. 

Signed :  Shunsho  ga.  1774.  Size  12x5j4.  Lent  by  Frederick  W. 
Gookin. 

301.  THE  ACTOR  NAKAMURA  KATSUGORO. 

Signed :  Shunsho  ga.  1775.  Size  12j4x6.  Lent  by  Frederick  W. 
Gookin. 

302.  ACTOR  IN  A  FEMALE  ROLE. 

Signed:  Shunsho  ga.  1776.  Size  1214x524-  Lent  by  Frank  Lloyd 
W  right. 


-81— 


SHUNSHO 


303.  ICHIKAWA  DANJURO  AS  SOGA  NO  GORO. 

Signed:  Shunsho  ga.  1776.  Size  1214x5^.  Lent  by  J.  Clarence 
Webster. 

304.  NAKAMURA  TOMIJURO  IN  A  FEMALE  ROLE. 
Signed:  Shunsho  ga.  1776.  Size  13x6.  Lent  by  Frank  Lloyd 
Wright. 

305.  KOSAGAWA  TSUNEYO  AS  A  WOMAN  STANDING 
BEFORE  A  CIRCULAR  WINDOW. 

Signed:  Shunsho  ga.  1777.  Size  12%x5j4.  Lent  by  Frederick 
W.  Gookin. 

306.  SEGAWA  KIKUNOJO  AS  A  WOMAN  WALKING  IN 
THE  SNOW. 

Signed:  Shunsho  ga.  1777.  Size  1214x534.  Lent  by  Frederick  W. 
Gookin. 

307.  THE  ACTORS  BANDO  MITSUGORO  AND  NAKA¬ 
MURA  TOMIJURO. 

Signed:  Katsu  Shunsho  ga.  1777.  Size  12x8.  Lent  by  Frederick 
W.  Gookin. 

308.  ACTOR  IN  A  FEMALE  ROLE. 

Signed:  Shunsho  ga.  1776  or  1777.  Size  13x6.  Lent  by  Frank 
Lloyd  Wright. 

309.  THE  ACTOR  NAKAMURA  KATSUGORO. 

Signed:  Shunsho  ga.  1777.  Size  12j4x6.  Lent  by  Frederick  W. 
Gookin. 

310.  NAKAMURA  TOMIJURO  IN  A  FEMALE  ROLE. 
Signed :  Katsu  Shunsho  ga.  1777.  Size  12%x5j4.  Lent  by  Frank 
Lloyd  Wright. 

31 1.  SEGAWA  KIKUNOJO  AS  BAN-NO-NAISHI. 

Signed :  Shunshb  ga.  1777.  Size  12}^x5^i.  Lent  by  Frederick  W. 
Gookin. 

312.  IWAI  HANSHIRO  AS  A  DANCING  GIRL. 

Signed :  Katsu  Shunsho  ga.  1777.  Size  12%x5j4.  Lent  by  J. 
Clarence  Webster. 

313.  THE  ACTOR  MATSUMOTO  K0SHIRO. 

Signed:  Katsu  Shunsho  ga.  1777.  Size  12%x5^4.  Lent  by  Frank 
Lloyd  Wright. 

—82— 


/ 


SHUNSHO 


314.  SEGAWA  KIKUNOJO  AS  A  WOMAN  IN  WINTER 
COSTUME  CARRYING  AN  UMBRELLA. 

Signed:  Shunsho  ga.  1778.  Size  12%x5)4-  Lent  by  Frederick 
VV.  Gookin. 

315.  KOSAGAWA  TSUNEYO  IN  A  FEMALE  ROLE. 
Signed:  Shunsho  ga.  1778.  Size  13x6.  Lent  by  Frederick  W. 
Gookin. 

.,  .*  -jfc.  ’  t-  ■  •  ..... 

316.  KOSAGAWA  TSUNEYO  IN  A  FEMALE  ROLE. 
Signed:  Shunsho  ga.  1778.  Size  12%x5)4-  Lent  by  Frank  Lloyd 
Wright. 

317.  TWO  YOSHIWARA  BELLES. 

Signed :  Shunsho  ga.  Series :  Seiro  Kokon  Hakku  Awase.  1778. 
Size  10l/2x7T/2.  Lent  by  Frederick  W.  Gookin. 

318.  ACTORS  MAKING  UP  FOR  THE  STAGE. 

Signed :  Shunsho  ga.  1771.  Size  15x10.  Lent  by  J.  Clarence 
Webster. 

The  scene  is  an  actor’s  dressing  room.  At  the  left  Danjuro, 
the  great  man,  stands  in  a  dignified  attitude,  watching  another 
man  who  is  seated  before  a  mirror,  apply  paint  to  his  face,  and 
listening  to  Otani  Hiroji,  who  sits  at  the  right.  In  the  back¬ 
ground  are  huge  boxes  of  stage  properties. 

319.  THE  ACTOR  NAKAMURA  MATSUE  IN  A  FEMALE 
ROLE. 

Signed:  Shunsho  ga.  Stamp:  Kiwame  (Certified).  1779.  Size 
13x6.  Lent  by  Frank  Lloyd  Wright. 

320.  ACTOR  IN  A  FEMALE  ROLE. 

Signed :  Shunsho  ga.  1779.  Size  12ktx5ki.  Lent  by  Frederick 
W.  Gookin. 

321.  SEGAWA  KIKUNOJO  AS  A  WOMAN.  IN  WINTER 
COSTUME. 

Signed:  Shunsho  ga.  1779.  Size  12%x5j4.  Lent  by  Frank  Lloyd 
Wright. 

322.  SCENE  FROM  A  DRAMA.  ICHIKAWA  DANJURO 
AS  A  SKELETON ;  IWAI  HANSHIRO  AS  A  WOMAN 
FRIGHTENED  BY  THE  APPARITION. 

Signed:  Shunsho  ga.  1779.  Size  13x12.  Lent  by  Frederick  W. 
Gookin. 


-83— 


SHUNSHO 


323.  SCENE  FROM  A  DRAMA.  ICHIKAWA  DANJURO 
AS  SEIGEN ;  NAKAMURA  MATSUE  AND  NAKA¬ 
MURA  KATSUGORO  AS  DANCERS. 

Signed:  Shunsho.  1779.  Lent  by  J.  Clarence  Webster. 

Though  most  of  the  prints  of  the  size  known  as  hoso-e  were 
printed  as  triptychs  or  diptychs  they  were  usually  cut  apart  and 
sold  separately.  The  triptychs  are,  therefore,  extremely  rare. 
We  have  here  a  very  early  example  of  the  use  of  white  "bronze, 
but  being  printed  upon  the  white  kimonos  it  is  not  very  effective 
and  can  only  be  seen  in  a  favorable  light. 

324.  THE  ACTOR  MATSUMOTO  K0SHIRO. 

Signed:  Shunsho  ga.  1779.  Size  12%x5%.  Lent  by  Frederick  W. 
Gookin. 


325.  SEGAWA  KIKUNOJO  AS  KIYOHIME  IN  THE 
DRAMA  “MUSUME  DOJOJI. 

Signed:  Shunsho  ga.  1780.  Size  13x6.  Lent  by  Frederick  W. 

Gookin. 

An  chin,  a  bozu  (priest)  attached  to  the  temple  and  monastery 
of  Dojoji.  was  wont,  when  on  the  pilgrimage  of  Kumano,  to  stay 
at  an  inn  at  Masagtx  His  attentions  to  Kiyohime,  the  inn¬ 
keeper’s  daughter,  resulted  in  her  falling  violently  in  love  with 
him.  Incensed  by  his  coldness,  her  passion  turned  into  furious 
hate,  whereupon  she  sought  the  aid  of  the  evil  spirits  and,  by  per¬ 
forming  the  incantation  Ushi  no  toki  mairi  (See  No.  186)  at  the 
hour  of  the  ox  (two  in  the  morning)  cast  a  spell  upon  him.  Fol¬ 
lowing  him  into  the  temple  Anchin  hid  beneath  the  great  bell  ten 
feet  high  and  in  weight  more  than  100  men  could  move.  As  Kiyo¬ 
hime  touched  it  it  fell,  completely  covering  and  imprisoning  the 
unfortunate  priest.  At  the  same  time  Kiyohime’s  face  grew  like 
the  witch  mask  of  Hannya,  scales  appeared  upon  her  body,  her 
legs  joined  and  turned  into  the  tail  of  a  dragon.  Coiling  her¬ 
self  about  the  bell  she  lashed  it  in  her  rage  until  it  became  red 
hot  and  then  melted,  Kiyohime  falling  into  the  molten  mass  and 
perishing  as  the  wretched  Anchin  schreeched  his  last  despairing 
Namu  Amida  Butsu,  while  his  fellow  priests  stood  about  in  help¬ 
less  horror. 

326.  ICHIKAWA  DANJURO  AS  SEIGEN. 

Signed:  Shunsho  ga.  1780.  Size  12%x5jd.  Lent  by  Frederick  W. 

Gookin. 


— 84— 


SHUNSHO 


-  }* 

327.  IWAI  HANSHIRO  AS  A  DANCING  GIRL. 

Signed:  Shunsho  ga.  Stamp:  Kiwame  (Certified).  1781.  Size 
121/ix554-  Lent  by  J.  Clarence  Webster. 

328.  KOSAGAWA  TSUNEYO  IN  A  FEMALE  ROLE. 

Signed:  Shunsho  ga.  1781.  Size  12%x5^.  Lent  by  Frank  Lloyd 
Wright. 

329.  THE  ACTOR  IWAI  HANSHIRO. 

Signed:  Shunsho  ga.  1780.  Size  1214x554-  Lent  by  Frank  Lloyd 
Wright. 


IPPITSUSAI  BUNCHO 

Kishi  Uzaemon  Maiyuki,  whose  studio  name  was  Ippitsusai 
Buncho,  was  a  samurai  who  in  early  life  was  a  pupil  of  an  artist 
named  Ishikawa  Yukimoto,  probably  one  of  the  lesser  men  of 
the  Kano  school.  Cutting  loose  from  the  strict  regimen  of  sam¬ 
urai  life,  Buncho  took  to  painting  in  Ukiyo-e  manner  and  for  sev¬ 
eral  years  made  actor  prints  in  the  style  of  Shunsho,  which  are 
of  great  distinction  both  in  design  and  colour.  As  a  colourist 
Buncho  is  entitled  to  very  high  rank.  His  portraits  of  Ichi¬ 
kawa  Yaozo  were  regarded  as  especially  good.  Buncho  is  said 
to  have  been  extremely  fond  of  sake  and  to  have  led  a  life  of 
dissipation.  He  attained  celebrity  as  a  maker  of  comic  odes. 
These  he  signed  Atama  no  Hikari  (Shiny  head,  an  illusion  to 
his  bald  pate).  Five  volumes,  under  the  title  “Uzu-en,”  were 
published  in  1792  or  1793.  Being  persuaded  by  his  samurai 
friends  to  give  up  Ukiyo-e  it  rs  said  that  the  honorary  title  of 
Hokyo  was  bestowed  upon  him  in  his  latter  days. 

330.  THE  ACTOR  SANNOGAWA  ICHIMATSU. 

Signed :  Ippitsusai  Buncho  ga.  1767.  Size  1214  x554-  Lent  by 
Clarence  Buckingham. 

331.  ACTOR  IN  A  FEMALE  ROLE. 

Signed :  Ippitsusai  Buncho  ga.  1767.  Size  1214x554.  Lent  by 
J.  Clarence  Webster. 

332.  WOMAN  READING  A  LETTER. 

Signed :  Ippitsusai  Buncho  ga.  1768.  Size  1214x554-  Lent  by  J. 
Clarence  Webster. 

-85— 


BUNCHO 

333.  SEGAWA  KIKUNOJO  AS  A  DANCING  GIRL. 

Signed:  Ippitsusai  Buncho  ga.  1769.  Size  12j4x5j4.  Lent  by 
Clarence  Buckingham. 

334.  ACTOR  IN  A  FEMALE  ROLE. 

Signed:  Ippitsusai  Buncho  ga.  1769.  Size  12x5^.  Lent  by  J. 
Clarence  Webster. 

335.  THE  ACTOR  ICHIKAWA  KOMAZO. 

Signed :  Ippitsusai  Buncho  ga.  1770.  Size  12%x5j4.  Lent  by 
Frederick  W.  Gookin. 

336.  WOMAN  ON  A  VERANDA  LOOKING  OUT  INTO 
THE  NIGHT. 

Signed:  Ippitsusai  Buncho  ga.  1770.  Size  12%x5}4.  Lent  by  J. 
Clarence  Webster. 

337.  ONOE  KIKUGORO  AS  UKIJIM  \  DANJO. 

Signed :  Ippitsusai  Buncho  ga.  1770.  Size  12j4x5%.  Lent  by 

Frank  Lloyd  Wright. 

Inscribed:  Ichimura  Theatre,  Yedo.  Autumn  of  1770. 

338.  SEGAWA  KIKUNOJO  AS  A  WOMAN  IN  A  WHITE 
KIMONO. 

Signed:  Ippitsusai  Buncho  ga.  1771.  Size  12%x5^.  Lent  by 

Frederick  W.  Gookin. 

339.  THE  ACTOR  ICHIKAWA  YAOZO. 

Signed :  Ippitsusai  Buncho  ga.  1771.  Size  12%x5 K-  Lent  by 

Frederick  W.  Gookin. 

340.  NAKAMURA  TOMIJURO  IN  A  FEMALE  ROLE. 
Signed:  Ippitsusai  Buncho  ga.  1772.  Size  12%x5}4.  Lent  by  J. 
Clarence  Webster. 

341.  SEGAWA  KIKUNOJO  AS  KEISEI  MAITZURO. 

Signed:  Ippitsusai  Buncho  ga.  1772.  Size  12%x5}4-  Lent  by 

John  H.  Wrenn. 

This  print  is  inscribed  with  the  actor’s  name  and  “Nakamura 
Theatre,  Yedo,  spring  of  1 772.” 

342.  IWAI  HANSHIRO  AS  KIYOHIME. 

Signed:  Ippitsusai  Buncho  ga.  1772.  Size  12%x5j£.  Lent  by 

Clarence  Buckingham. 


-86- 


BUNCHO 


343.  IWAI  HANSHIRO  IN  A  FEMALE  ROLE. 

Signed:  Ippitsusai  Buncho  ga.  1772.  Size  12%x5j4.  Lent  by  J. 
Clarence  Webster. 

344.  NAKAMURA  MATSUE  IN  A  FEMALE  ROLE. 
Signed:  Ippitsusai  Buncho  ga.  1772.  Size  12%x5&.  Lent  by  J. 
Clarence  Webster. 

345.  OTANI  HIROJI  AS  AN  ARCHER. 

Signed :  Ippitsusai  Buncho  ga.  1772.  Size  12j4x5?4.  Lent  by  J. 
Clarence  Webster. 


SHUNKO 

Katsukawa  Shunko,  whose  personal  name  is  not  known,  was 
a  pupil  of  Katsukawa  Shunsho.  He  lived  in  Hasegawa-cho, 
Yedo,  and  at  first  signed  himself  Shun-o,  but  soon  changed  to 
Shunko.  His  work  closely  resembles  that  of  his  master,  and  in 
imitation  of  him  he  sometimes  made  use  of  a  jar-shaped  stamp 
bearing  the  ideograph  “Hayashi.”  This  seal  differs  slightly  from 
that  used  by  Shunsho.  Its  use  obtained  for  him  the  sobriquet 
Kotsubo  (Little  Jar).  An  attack  of  paralysis  when  he  was  in  his 
forty-fifth  or  sixth  year  caused  a  cessation  of  his  work,  and 
thenceforth  he  lived  as  a  recluse  at  Zenfukuji  Temple,  Azabu, 
Yedo.  It  is  related  that  he  recovered  sufficiently  to  draw  with 
his  left  hand,  at  the  request  of  the  famous  ode  maker  Enbao, 
a  portrait  of  Ichikawa  Hakuen.  He  died  in  1827. 

346.  SEGAWA  KIKUNOJO  IN  A  FEMALE  ROLE. 

Signed :  Shunko  ga.  1778.  Size  13x6.  Lent  by  J.  Clarence 
Webster. 

347.  THE  ACTOR  ICHIKAWA  DANJURO. 

Signed :  Katsukawa  Shunko  ga.  1778.  Size  13x6.  Lent  by  J.  Clar¬ 
ence  Webster. 

348.  NAKAMURA  MATSUE  IN  A  FEMALE  ROLE. 

Signed:  Shunko  ga.  1778.  Size  12%x5j4.  Lent  by  J.  Clarence 
Webster. 

349.  THE  ACTOR  SEGAWA  KIKUNOJO. 

Signed:  Shunko  ga.  1778.  Size  12jGx6.  Lent  by  Frank  Lloyd 
Wright. 

-87— 


SHTJNKO 

350.  NAKAMURA  KATSUGORO  AS  A  DANCING  GIRL 
IN  THE  SHAKKYO  DANCE. 

Signed :  Shunko  ga.  1778.  Size  12*4x6.  Lent  by  Frederick  W. 
Gookin. 

The  Shakkyo  dance  is  named  from  the  stone  bridge  that  is 
the  most  important  feature  of  the  stage  setting  for  it. 

.351.  KOSAGAWA  TSUNEYO  IN  A  FEMALE  ROLE. 

Signed:  Katsukawa  Shunko  ga.  1779.  Size  12x5}4.  Lent  by  J. 
Clarence  Webster. 

352.  YAMASHITA  KINSAKU  IN  A  FEMALE  ROLE. 
Signed :  Katsukawa  Shunko  ga.  1779.  Size  13x524-  Lent  by 
Clarence  Buckingham. 

353.  THE  ACTOR  ICHIKAWA  DANJURO. 

Signed:  Shunko  ga.  1779.  Size  12j4x5j4-  Lent  by  Frank  Lloyd 
Wright. 

354.  SCENE  FROM  A  DRAMA:  THE  ACTORS  ARASHI 
SANGORO  AND  YAMASHITA  KINSAKU. 

Signed:  Shunko  ga.  1780.  Size  13x524.  Lent  by  Frank  Lloyd 
Wright. 

355.  THE  ACTOR  ICHIKAWA  DANJURO. 

Signed:  Shunko  ga.  1782.  Size  1224x6.  Lent  by  Frank  Lloyd 
Wright. 

356.  GROUP  OF  THREE  ACTORS  UNDER  A  PLUM 
TREE. 

Stamp  only:  Hayashi.  About  1784.  Size  15x10.  Lent  by  Frank 
Lloyd  Wright. 

This  is  one  of  Shunko’s  finest  works.  The  drawing,  engrav¬ 
ing  and  printing  are  all  done  with  the  utmost  care. 

SHUNDO 

Beyond  the  fact  that  he  was  one  of  the  pupils  of  Shunsho 
nothing  is  known  about  this  artist.  His  prints  are  few  but  ex¬ 
cellent. 

357.  THE  ACTOR  OTANI  HIROJI. 

Signed :  Rantokusai  Shundo  ga.  Stamp :  Hayashi.  1776.  Size 
1224x6.  Lent  by  Frederick  W.  Gookin. 

—88— 


5  « 


V! 

O 

O 

EJ 

-P 

P 

O 

OP 

H 

P 

1 


i-  K- 


•  ■  •  '  XKA  K' .’  -.  .  f  ■ 

-  A  S] /,  K"  i  .<  *  vi’it 

ui  ’  p.,  jV  ■  A), 


■  ShaAkvo-  -.r  no*  i»  >••  »r 


hkm  irapottam  featitre  <y»:  the  •- 


A  DANCIK<J  ::riR1 
(  ent  by  !*ederick  W. 

'  '  •  tb  l  ts 


' 

...  .  ■  .  ....  . 


"IN:-  '  Cl  :  vTMiKl&  HOuM 


-v**  12?  '*5 


*  B 

q  >»., 


.  Si;.*.  ; 

UJ&Ct. 

.  r.  ,  -r 

ji-  Lent 

>y  r  ra  ./.vrx. 

-iv  Liu tvt 


<0-. 


a/nw  asyi 


o  •  -  ■  ■ 

t3  ( 

&  ■  V  .  , ,  t 


PC 


■ 


4  '  3i<S-.  Site  33)4x8.  by  JA.'  L.oy<3 


T  r:  \rr<>ns  under  v  plum 

■  :v  .’My.  Hayashi.  At-  't*c  1784  She  lSxll).  Lent  t*  Pxfefe 

;  i»  cr  s  r,.f  S'fetui1;*  ■'.»  fisits:  works.  The  <$r?  -yi.-  tv  r-jv- 
l:  -1..  .  f>  s.->-e  ivitr  the  utmost  e\..r? 


SHUN! 0 

'■  -t  i  ">at  Ac  a  <  u  .*  pupil*  f  Shumbf 
r>v.r  bout  tins  .:  (.  >fs  arc  lew  fciit  <•*- 


CiTAXi  11IROJI. 

:  P  .tit  St»u  •  :  >  jja.  S  *t:  Ha*;> *b  '£'• 

•'r  I-  :it  Jjj  '.‘letVfick  W.  Goc'.in. 

-Hit- - 


$>i*e 


Sfcl'+cfe&M 


jfcl'+i&a* 


V 


•yr  tfS'VI T* 

■  ■ 

•  '■•'*'  •■’“*-  ...  ■;.*■■■ 


■  ;  mmM 


-  •  r"  :•»/-  ^ 

W  :  V: 

■.t  '  »  ; 

.',  .;•  .4  1 

1  <'  |r'»  £- 

•  u- 

t/!fc 

■v"'-?  ■•■■■  .XV* 

<■  V  4  V-  *  •  ■>,  v» 

•;:-  ;•  >■:  -  .-  *  .  ~  tr  •  .' V  'y- 


lr:  -  ;- 

^  J£ 


;r  '  •  .;...  .  -  w- 

;■, .  -  *  •■  •-.-  ^e.  v 


••  -  ,  •-■-  At  r 


r 


'V 


- 


SHUNJO 

Shun  jo  is  another  of  the  pupils  of  Shunsho  about  whom  noth¬ 
ing  is  known.  His  prints  are  good  enough  to  warrant  the  sup¬ 
position  that  perhaps  he  later  adopted  another  name  by  which  he 
is  usually  recognized. 

358.  THE  ACTOR  SEGAWA  KIKUNOJO. 

Signed:  Shunjo  ga.  1779.  Size  12^ix6.  Lent  by  Frank  Lloyd 
Wright. 

359.  THE  ACTOR  SEGAWA  KIKUNOJO. 

Signed:  Shunjo  ga.  1780.  Size  12^x5^.  Lent  by  Frank  Lloyd 
W  right. 


KINCH0DO  SEKIGA 

Nothing  is  known  about  this  artist.  He  may  have  been  a 
pupil  of  Toriyama  Sekien,  who  is  best  known  as  the  master  of 
Utamaro. 

360.  ACTOR  IN  A  FEMALE  ROLE. 

Signed:  Kinchodo  Sekiga  ga.  About  1785.  Size  U^xS^.  Lent 
by  J.  Clarence  Webster. 


SHUNEI 

Isoda  Kujiro,  known  as  Kintokusai  Shun-ei  (commonly 
spelled  Shunyei),  was  the  son  of  one  Isoda  Jirobei  and  was  born 
at  Yedo  at  Shinidizumicho,  Shinmichi,  in  1767.  He  entered 
the  studio  of  Shunsho  at  a  very  early  age  and  began  to  make 
designs  for  actor  prints  when  still  a  boy.  After  a  few  years  he 
drew  away  from  the  style  of  his  master  and  developed  a  manner 
of  his  own.  No  examples  are  here  shown  of  his  later  work, 
which  is  very  different  in  character  and  subject  from  that  of  his 
early  years.  He  was  an  artist  of  strong  individuality  and  be¬ 
came  the  leader  of  a  group  of  print  designers  who  flourished 
in  the  early  years  of  the  nineteenth  century.  His  works  are 
clever  in  conception  and  execution,  but  he  lived  in  a  time  of  de¬ 
cadence  and  was  not  strong  enough  to  stem  its  tide.  He  died 
on  the  26th  day  of  the  10th  month  of  Bunsei  2  (1819). 

-89- 


SHUNEI 


361.  ACTOR  IN  A  FEMALE  ROLE. 

Signed :  Shun-ei  ga.  1787.  Size  1214x524-  Lent  by  Frederick  W. 
Gookin. 

362.  IWA  HANSHIRO  AS  A  YOUNG  MAN  WARMING 
HIS  HANDS  AFTER  ROLLING  A  HUGE  SNOW¬ 
BALL. 

Signed:  Shun-ei  ga.  Stamp:  Kiwame.  Publisher:  Tsutaya.  1788. 
Size  1214x524-  Lent  by  Frederick  W.  Gookin. 

363.  SEGAWA  KIKUNOJO  AS  A  DANCING  GIRL. 

Signed:  Shun-ei  ga.  Stamp:  Kiwame.  Publisher:  Eijudo. 

About  1788.  Size  1214x524-  Lent  by  Frederick  W.  Gookin. 

364.  THE  ACTOR  IWAI  HANSHIRO. 

Signed:  Shun-€i  ga.  Publisher:  Yamakichi.  About  1789.  Size 

1214x524-  Lent  by  Frederick  W.  Gookin. 

365.  ACTOR  AS  A  HUNTER  CARRYING  A  GUN. 

Signed :  Shun-ei  ga.  About  1790.  Size  13x524.  Lent  by  Fred¬ 
erick  W.  Gookin. 

366.  KOSAGAWA  TSUNEYO  IN  A  FEMALE  ROLE. 

Signed:  Shun-ei  ga.  Publisher:  Tsuruya.  About  1790.  Size 

1214x524-  Lent  by  Clarence  Buckingham. 

367.  YAMASHITA  KINSAKU  IN  A  FEMALE  ROLE. 

Signed :  Shun-ei  ga.  About  1790.  Size  1214x524-  Lent  by  Frank 
Lloyd  Wright. 

368.  ONOE  MATSUZO  AS  A  YUREI  (GHOST  OF  A  DE¬ 
CEASED  PERSON). 

Signed:  Shun-ei  ga.  Stamp:  Kiwame  (Certified).  Publisher: 

Eijudo.  About  1792.  Size  12x5.  Lent  by  Frederick  W.  Gookin. 

369.  THE  ACTOR  SAWAMURA  SOJURO  STANDING 
UNDER  A  PLUM  TREE. 

Signed:  Shun-ei  ga.  Publisher:  Tsuruya.  About  1792.  Size 

1214x514.  Lentby  Frank  Lloyd  Wright. 

:  ->ho  PtU  .vmirf'o  /Lntntonirr  p;l)  )o  yU-v  tUl 

370.  THE  ACTOR  SAWAMURA  SOJURO. 

Signed*  Shun-ei  ga.  Publisher:  Tsuruya.  About  1793.  Size 

13x524-  Lent  by  Clarence  Buckingham. 

—90— 


SHT7NEI 


371-  ACTOR  AS  A  YOUNG  WOMAN  CARRYING  TWO 
BIRD  CAGES. 

Signed:  Shun-ei  ga.  Publisher:  Eijudo.  1795.  Size  15x10.  Lent 
by  J.  Clarence  Webster. 


TORII  KIYONAGA 

The  fourth  artist  to  head  the  Torii  line  and  the  culminating 
figure  in  the  forward  movement  of  the  Ukiyoe  school,  was  an 
adopted  scion  of  the  house.  His  name  was  Seki  Shinsuke  and 
he  was  the  son,  born  in  1742,  of  Seki  Ichibei,  who  kept  a  book 
shop  known  as  Shiroki-ya  at  Shinba,  Yedo.  He  studied  under 
Torii  Kiyomitsu,  but  from  the  first  his  work  displayed  marked 
individuality  and  bears  little  resemblance  to  that  of  his  master. 
In  the  tremendous  power  of  his  facile  brush  he  recalls  the  work 
of  the  founder  of  the  line,  Torii  Kivonobu,  but  he  was  far  more 
versatile  and  had  the  wider  resources  of  a  highly  developed  art 
at  his  command.  Like  his  predecessors  in  the  school,  he  painted 
with  great  skill  the  large  signs  that  adorned  the  fronts  of  the 
leading  theatres  and  were  changed  with  each  change  of  bill. 
It  is  related  that  instead  of  painting  these  in  his  studio  he  was 
wont  to  travel  about  with  assistants  carrying  ladders,  and  to 
execute  the  work  in  situ.  The  dominant  characteristics  of  his 
style  are  rugged  strength,  and  the  marvelous  quality  of  his 
brush  strokes.  At  the  height  of  his  power  his  influence  over 
his  contemporaries  was  so  great  that  almost  without  exception 
the  younger  men  among  them  copied  his  style  as  closely  as  they 
could.  About  1790  he  gave  up  print  designing  for  the  more 
honored  occupation  of  painting.  His  paintings,  however,  are 
rare,  though  he  lived  until  the  year  1815.  His  residence  in  Yedo 
was  in  Honzaimoku-cho,  Itchome. 

372.  SAYONARA. 

Signed :  Kiyonaga  ga.  About  1777.  Hashira-e.  Size  27x5.  Lent 
by  J.  Clarence  Webster. 

«*.  nfiKjI  n  ;:':  ~srf  r:i  T'lrfluo/t  ,ti9l  oni  js  ebnt ;?.  .. 

373.  THE  ACTOR  BANDO  MITSUGORO  IN  A  FEMALE 
ROLE. 

-sgtic  i-  :;rr  oil'*}  mi  ,  mricd  gin  ni  aqig  n  ri  tv/  ft  run  '..mv  e 

Signed:  Kiyonaga  ga.  About  1777.  Size  12^x6.  Lent  by  Frank 
Lloyd  Wright. 

Here  Kiyonaga  adopts  to  some  extent  the  style  of  Shtinsho, 
as  well  as  the  charming  hoso-e  size  which  was  such  a  favorite 

-91- 


KIYONAGA 


with  that  artist.  The  patterns  upon  the  garments  and  the  mass¬ 
ing  of  the  colours  are,  however,  distinctly  Kiyonaga’s  own. 


374.  GROUP  AT  THE  ENTRANCE  TO  A  HOUSE. 

Series :  Minami  Juniko  Jugetsu.  Signed :  Kiyonaga  ga.  About 
1777.  Size  10x754.  Lent  by  Clarence  Buckingham. 


375.  THE  OIRAN  SEGAWA  OF  MATSUBA  YA  AND  HER 
ATTENDANTS  SASANO  AND  TAKENO. 

Series:  Serio  Shiki  Ju-ni  Ka  Kei.  Signed:  Kiyonaga  ga.  Pub¬ 
lisher:  Eijudo.  About  1777.  Size  15x10.  Lent  by  Frederick  W. 
Gookin. 

The  famous  beauty  is  shown  walking  along  a  street  in  the 
Yoshiwara,  followed  by  her  attendants. 

The  print  is  chiefly  notable  for  its  condition  and  the  quality 
of  the  impression.  The  colour  seems  almost  wet,  and  the  beni 
red  has  not  faded. 


376.  TWO  WOMEN  CARRYING  A  LARGE  UMBRELLA 
AND  FOLLOWED  BY  A  SERVING  MAID. 

Signed:  Kiyonaga  ga.  About  1778.  Size  15x10.  Lent  by  Clarence 
Buckingham. 

Ths  diaphanous  costumes  of  this  year  set  new  problems  for 
the  print  designers,  but  Kiyonaga  finds  in  them  only  a  new  op¬ 
portunity.  Those  who  think  the  faces  of  the  figures  in  the 
prints  are  all  alike  should  note  particularly  the  difference  in 
type  between  those  of  the  ladies  and  the  servant.  Servants  can 
always  be  distinguished  by  the  drawing  of  their  faces. 


377.  GROUP  OF  TWO  GEISHAS  AND  A  YOUNG  MAN. 
Signed :  Kiyonaga  ga.  About  1778.  Size  15x10.  Lent  by  Clarence 
Buckingham. 

A  tall  girl  stands  at  the  left,  holding  in  her  right  hand  a 
round  fan  (uchiwa).  Seated  upon  the  floor  at  her  feet  is  a 
young  woman  with  a  samisen  across  her  knees,  and  at  her  side 
sits  a  young  man  with  a  pipe  in  his  hand.  The  extreme  elonga¬ 
tion  of  the  principal  figure  is  a  characteristic  of  Kiyonaga’s 
drawing  at  this  period,  in  an  effort  to  secure  a  feeling  of  stateli¬ 
ness  as  well  as  grace.  The  colour  in  this  print  is  very  little 
changed  from  its  original  condition. 

-92- 


KIYONAGA 


378.  TWO  WOMEN  WALKING  IN  THE  SNOW. 

Signed :  Kiyonaga  ga.  About  1778.  Size  15x10.  Lent  by  J.  Clar¬ 
ence  Webster. 

This  is  undoubtedly  a  part  of  a  tryptych.  The  scene  is  a 
snow-covered  landscape  on  the  banks  of  the  Sumida  River.  The 
woman  at  the  right  is  carrying  a  sake  kettle.  The  kimono  of 
her  companion,  who  with  one  hand  is  raising  the  piece  of  cloth 
she  wears  as  a  headcovering,  was  originally  blue. 

379.  A  WOMAN  CARRYING  A  CLOSED  UMBRELLA. 
Signed :  Kiyonaga  ga.  About  1778.  Hashira-e.  Size  28x5.  Lent 
by  Frank  Lloyd  Wright. 

Kiyonaga  is  not  yet  quite  at  ease  in  compositions  of  this 
form.  There  is  strength,  but  the  line  is  a  little  stiff. 

380.  TWO  WOMEN  AND  INFANT  BOY  UNDER  A 
WILLOW  TREE. 

Not  signed.  About  1779.  Hashira-e.  Size  25x4^4.  Lent  by  Frank 
Lloyd  Wright. 

381.  TWO  WOMEN  FOLLOWED  BY  A  MAN  CARRYING 
A  BOX  AND  A  BUNDLE. 

Signed :  Kiyonaga  ga.  About  1779.  Size  15x10.  Lent  by  J.  Clar¬ 
ence  Webster. 

The  way  in  which  the  beautiful  blue  used  for  these  prints 
changes  colour  is  well  shown  upon  the  bundle  the  servant  carries 
over  his  shoulder. 

382.  A  YOSHIWARA  BELLE  FOLLOWED  BY  TWO 
WOMAN  ATTENDANTS  AND  A  BOY. 

Signed :  Kiyonaga  ga.  About  1779.  Size  15x10.  Lent  by  Fred¬ 
erick  W.  Gookin. 

Kiyonaga’s  figures  now  tend  to  become  very  tall,  and  his  line 
gains  in  strength  as  he  approaches  the  culmination  of  his  power. 

383.  MIYA  MAIRI  NO  ZU. 

Signed :  Kiyonaga  ga.  About  1779.  Size  15x10.  Lent  by  Clarence 
Buckingham. 

This  print,  which  has  changed  very  little  in  colour,  shows 
what  rich  effects  Kiyonaga  could  evolve  from  a  few  quiet  hues 
and  exceedingly  simple  patterns. 

The  subject  is  the  first  presentation  of  a  child— in  this  case 
a  girl  baby— to  the  Shinto  temple  of  the  district  in  which  the 
parents  reside. 


KIYONAGA 

384.  THREE  WOMEN  BEARING  UMBRELLAS  IN  A 
SHOWER. 

Signed:  Kiyonaga  ga.  Series:  Azuma  no  Nishiki.  About  1779. 
Size  15x10.  Lent  by  Clarence  Buckingham. 

The  series  of  which  this  is  one,  was  exquisitely  engraved  and 
printed  with  great  care.  The  colour  scheme  in  this  print  is  full 
and  rich,  and  the  fading  only  adds  to  its  charm. 

385.  THE  ACTOR  ONOE  MATSUZO  AND  A  WOMAN 
STANDING  AT  THE  CORNER  OF  THE  HOUSE 
CALLED  KAME-YA. 

Signed :  Kiyonaga  ga.  About  1779.  Sise  13x6.  Lent  by  J.  Clar¬ 
ence  Webster. 

The  dignity  of  the  tall  figures  is  emphasized  by  the  broad, 
simple  massing  of  the  colours. 


386.  READING  THE  LOVE  LETTER. 

Signed:  Kiyonaga  ga.  About  1779.  Hashira-e.  Size  27x4j4. 
Lent  by  Frank  Lloyd  Wright. 

A  favorite  subject  with  the  Kano  painters  was  the  Taoist 
Rishis  (sages).  Hanshan  and  Jitok,  one  of  whom  carries  a 
makimono  (roll  of  manuscript)  and  the  other  a  broom.  The 
travesty  in  this  print  is  obvious.  . 

387.  MOTHER  WATCHING  HER  SLEEPING  BABE. 
Signed :  Kiyonaga  ga.  About  1779.  Hashira-e.  Size  27x5.  Lent 
by  J.  Clarence  Webster. 

On  a  veranda  a  child  is  sleeping  under  a  mosquito  net.  By 
his  side  his  mother  stands  looking  down  upon  him.  Above  her 
head  is  a  hanging  lantern. 

388.  TWO  YOSHIWARA  BELLES. 

Signed:  Kiyonaga  ga.  About  1779.  Hashira-e.  Size  28x5.  Lent 
by  Frank  Lloyd  Wright. 

389.  WOMAN  HOLDING  A  BELL. 

Signed :  Kiyonaga  ga.  Publisher :  Eijudo.  About  1779.  Hashira-e. 
Size  27x414-  Lent  by  Frank  Lloyd  Wright. 

390.  MAN  AND  WOMAN  IN  WINTER  COSTUME  WALK¬ 
ING  UNDER  AN  UMBRELLA. 

Signed:  Kiyonaga  ga.  Publisher:  Eijudo.  About  1779.  Hashira-e. 
Size  28x5.  Lent  by  Frank  Lloyd  Wright. 

-94- 


KIYONAGA 


391.  TWO  WOMEN  GOING  TO  BED. 

Signed :  Kiyonaga  ga.  Publisher :  Eijudo.  About  1780.  Ha- 

shira-e.  Size  28x5.  Lent  by  Frank  Lloyd  Wright. 

It  is  in  such  works  as  this  that  Kiyonaga  shows  his  supremacy 
with  the  brush.  There  is  an  enchanting  quality  in  the  strokes 
that  his  rivals  cannot  approach. 

392.  TWO  WOMEN  UNDER  A  BLOSSOMING  CHERRY 
TREE. 

Signed:  Kiyonaga  ga.  Publisher:  Eijudo.  About  1780.  Ha- 

shira-e.  Size  27x4*4.  Lent  by  Frank  Lloyd  Wright. 

393.  MUSUME  IN  A  GALE  OF  WIND. 

Signed:  Kiyonaga  ga.  About  1780.  Hashira-e.  Size  27x4}4.  Lent 
by  Frank  Lloyd  Wright. 

The  shape  of  the  pillar  print  now  presents  no  difficulties  that 
Kiyonaga  cannot  overcome.  Here  the  upright  form  only 
serves  to  accent  the  horizontal  movement  of  the  wind-blown  gar¬ 
ments  and  foliage.  And  how  musical  is  the  rippling  line ! 

394.  A  FAMILY  GROUP  IN  THE  OPEN  AIR. 

Signed:  Kiyonaga  ga.  About  1780.  Size  15x10.  Lent  by  Fred¬ 
erick  W.  Gookin. 

Seated  on  a  bench  is  a  man  in  what  may  be  termed  “full  dress” 
costume.  By  his  side  stands  his  wife,  holding  a  lacquer  tea  cup 
stand  (chadai)  and  turning  to  speak  to  their  son,  who  is  sitting 
on  the  ground  at  the  end  of  the  bench.  In  the  background  are 
large  flowering  plants  of  the  hagi  (lespedeza). 

395.  AN  INTERVIEW  THROUGH  THE  MISE. 

Unsigned.  Publisher:  Eijudo.  About  1780.  Size  1054x754-  Lent 
by  John  H.  Wrenn. 

A  masterpiece  wonderful  in  its  rhythmic  flow  of  line  and  the 
disposition  of  the  masses,  and  superbly  beautiful  in  colour.  Time 
has  been  a  factor  in  producing  the  colour  harmony,  chiefly 
through  the  mellowing  of  the  tone  of  the  paper,  and  the  oxidi¬ 
zation  of  the  red  lead.  The  composition  of  line  which  is  in 
Kiyonaga’s  finest  manner,  is  worthy  of  careful  study.  Note  how 
the  sweeping  curves  of  the  drapery  lead  the  eye  from  point  to 
point,  and  bind  the  whole  composition  together. 

396.  THE  DEMON  KEEPER. 

Signed:  Kiyonaga  ga:  Publisher:  Eijudo.  About  1780.  Size 
15x10.  Lent  by  Frederick  W.  Gookin. 

This  print  shows  the  tremendous  power  and  variety  of  Kiyon- 

-95- 


KIYONAGA 

aga’s  brush  strokes.  The  subject  is  a  parody  on  the  New  Year’s 
ceremony  known  as  Oni-yarai,  or  exorcising  the  demons  (oni) 
from  the  house  by  a  shower  of  beans.  .  Instead  of  pelting  them 
with  beans,  Kintoki,  the  strong  man,  is  throwing  them  crystal 
balls  and  other  sacred  gems,  to  their  unfeigned  delight. 

397.  THREE  WOMEN  AT  TOILET. 

Series :  Azuma  no  Nishiki.  Signed :  Kiyonaga  ga.  About  1780. 
Size  15x10.  Lent  by  Clarence  Buckingham. 

From  whatever  point  of  view  this  print  is  considered — whether 
for  composition,  drawing  or  colour — it  is  superb.  When  it  was 
exhibited  in  New  York  in  1896,  Fenollosa  said  about  it  in  “The 
Masters  of  Ukiyoe” — “Here  is  exhibited  Kiyonaga’s  finest  treat¬ 
ment  of  his  tallest  proportions.  It  surpasses  all  previous  Ukiyoe 
in  the  drawing  of  the  nude  and  the  suggestion  of  the  nude  under 
the  clinging  garments.” 

398.  A  YOSHIWARA  BELLE  FOLLOWED  BY  TWO  AT¬ 
TENDANTS  CARRYING  AN  UMBRELLA. 

Signed :  Kiyonaga  ga.  Series :  Azuma  no  Nisihiki  (literally 
“Eastern  brocade,”  that  is  to  say  colour  prints  of  Yedo,  the  eastern 
capital).  Probably  1780.  Size  15x10.  Lent  by  Frederick  W. 
Gookin. 

The  fading  of  the  beni  has  imparted  to  this  print  a  rare  deli¬ 
cacy  of  colour  charming  in  itself  and  helpful  in  revealing  the 
rhythm  of  the  line  composition. 

399.  THE  OIRAN  MAISUMI,  or  OMONJI-YA,  ACCOM¬ 
PANIED  BY  SHIGEKI,  NANAMI,  AND  TWO  CHILD 
ATTENDANTS  (KAMURO). 

Signed:  Kiyonaga  ga.  Probably  1781.  Size  15x10.  Publisher: 
Eijudo.  Lent  by  Clarence  Buckingham. 

One  of  the  series  “Hinagata  Wakana  no  Hatsu  Moyo,”  por¬ 
traits  of  Yoshiwara  belles,  begun  by.  Koriusai  and  continued  by 
Kiyonaga.  The  warm  yellowish  gray  was  blue  when  first  printed, 
the  colour  scheme  being  a  combination  of  red,  blue  black,  and 
yellow. 

400.  STREET  SCENE  IN  THE  YOSHIWARA  AT  NIGHT. 
Signed :  Kiyonaga  ga.  Series  :  Minami  Ju  ni  ko.  Probably  1781. 
Diptych.  Size  15x20.  Lent  by  John  H.  Wrenn. 

If  not  Kiyonaga’s  finest  work,  as  many  persons  think,  it  is 
certainly  one  of  his  best.  The  composition  is  of  great  distinc- 

-96- 


'•j.: -1  b n,..- L  n ok The  aV ••  ou  tac  nu*w  i  ears 

cereox-tiv  -rsxv.vu  as  Oni-yarsi,  •?)«.  .  w  den~~n?.  .orb) 


i'r  >*n  !  tie  house  by  a  shower  to  t  v  w  4t  1  c  p.-lting  them 
with  beans  Kintoki.  the  strong  .  ».r.  r  "hv-v  «*,;  !?v  crvstal 


balls  and  other  sacred  gems.  u  their  r/c  ;r«  dttUjUt. 


3y7  TUKKE  yvoMEN  AT  TOILET. 

A  ;  »c?  roms  «w  Nohil-i.  Signed-:  it* ;•  .. 

Siz*  l  JjrlO  Lett*’  cy  CUi-euoe.ftueJvingriRiv 


J f-  rrj  whatever  point  o'  view  this  prior  .  t'ortt-wo*—  '  ■  *u»  vbei 
•  -•njx.'ScA  o,  drawing  or  colour- -it  is  superb.  Whet-,  ii  v.ws 
■  .  -icd  in  Mew  iyvrk  hr  18  Cetiollosa  said  abb.  5  '  "be 

-i  '  li\:r  o.iv.i  .  |  Ki ..  1  liiiliYitiU  irjIiMia 

'  c4  m  projwrt*  "  J.t  or  sea  all  pre  •*"»  ;s  ’  !kiyop 

if!  the  d:*\yh>g  ef  tfcs  flthk  nv!  be  dp  vs  cion  of  the  n*,<tf  cto-tof 

the  ■  Hi.vir.e 


\  <  S  jj\V  Tv.  i  •  i  W  *;  r- 

V  ■  i  TT  V  Y  LlUiRI-  v 

"5  • ' 

■  <  St  O  •- 

3  I  Vcj  :  v:  .'erkk  vV. 


V  f 


ins®  1 1 


-4-05 

'to  ■“ 

/O  «s  ,. 

.  «  -  ■’ 

,  •  .  o 

iHipO  k-v/*i  *T-J 


■  r...  b  i-IT  OI RAN’  M.AISL MI  •  OMOXJJ-YA.  A  COM 

-  panted  :  y  stig* Tvi  natavil  and  t-a’O  c hilq 

>  .1  * .  vi  (»%•  f  1.  pJob.u»iy  1;‘  I.  Size  ’ '  t 

j- . ; .  O'  b.  Onr.:!»5c  T- 


-V  h-d’Ct  rCgifO  V 


1 .  iyi>t..<ga..  I  rtf  Wa  ’Ui  J-CtlOWlSh 

thr  colottj  scheme  being  a  combat.*  <>«  .. 

Vc!  lOW. 


\\:b  first  pfmteA, 


.iocs  STREET  SCgyg  IN  THE  YOGHAVARA 

Min'.,n;  ]a  a  tw  b 


Signed.  Kiyciv...  >;*  Se;^- .  H.nwat  ?*  ** 

Diptych.  She  ISiuJO-  Lent  r.f  John  Ii’.  w  -?.r 
li  not  iayonag»’&  iincst  work,  as  *Q3»  .  ' iiiirU  15 

c^-nmlv  cue  of  his  best.  The  ct  !T:poMV4i  !•  ■'  rest  OiSttuc- 


-96- 


/ 


KIYONAGA 


tion.  Two  parties  carrying  lanterns  pause  in  passing  and  turn 
to  speak  to  each  other. 

401.  THE  MERRYMAKERS. 

Signed :  Kiyonaga  ga.  Series :  Minami  Juni  ko.  Probably  1781. 
Diptych.  Size  15x20.  Lent  by  J.  Clarence  Webster. 

The  series  of  twelve  diptychs,  of  which  this  is  one,  are  among 
Kiyonaga’s  most  notable  works.  The  scene  is  a  young  man  and 
a  group  of  women  making  merry  with  sake  and  the  music  of 
the  samisen.  Through  a  large  open  window  appears  the  water 
of  Yedo  bay,  with  junks  at  anchor,  near  a  sandy  beach  where 
people  are  digging  clams.  In  composition  it  is  a  triumph,  and 
the  colour  in  its  even  fading  is  of  remarkable  beauty. 

402.  VIEWING  THE  SAKURA  (CHERRY)  BLOSSOMS. 
Signed:  Kiyonaga  ga.  Series:  Minami  Juni  ko.  Probably  1782. 
Diptych.  Size  15x20.  Lent  by  J.  Clarence  Webster. 

This  is  another  of  the  distinguished  series  of  twelve  dyptichs 
of  which  three  are  shown  in  this  exhibition.  Here  the  arrange¬ 
ment  of  the  figures  is  extremely  subtle,  and  is  saved  from  mo¬ 
notony  by  the  umbrella  carried  by  the  maid  in  the  left-hand 
group,  and  the  trunk  of  the  cherry  tree  boldly  thrown  across  the 
group  at  the  right. 

403.  GROUP  OF  THREE  WOMEN  ON  THE  BANK  OF 
THE  SUM  IDA  RIVER. 

Signed :  Kiyonaga  ga.  Probably  1782.  Size  15x10.  Lent  by 
Frederick  W.  Gookin. 

The  group  consists  of  two  women  standing  and  one  seated 
upon  the  end  of  a  bench.  The  central  figure  holds  a  round  fan 
(uchiwa)  in  her  right  hand.  Acrosk  the  river  is  a  long  row  of 
buildings,  whose  blue  roofs  contrast  most  effectively  with  the 
ivory-like  tone  of  the  paper  as  it  appears  in  the  women’s  faces. 

404.  WOMEN  UPON  A  BALCONY  OVERLOOKING  THE 
SEA. 

Signed:  Kiyonaga  ga.  Probably  1782.  Size  15x10.  Lent  by  John 
H.  Wrenn. 

It  is  not  too  much  to  say  that  this  is  one  of  Kiyonaga’s  most 
beautiful  compositions.  At  the  right  stands  a  woman  in  long- 
sleeved  kimono  of  a  lovely  orange  pink  (beni  printed  over  yel¬ 
low)  talking  to  a  girl  in  black  who  is  kneeling  and  holds  a  sake 
cup  in  her  left  hand.  Between  them  stands  another  woman  in 
a  striking  attitude,  leaning  over  the  railing  of  the  balcony. 

-97- 


KIYONAGA 

405.  GROUP  OF  MERRYMAKERS  UPON  A  BALCONY. 
Signed:  Kiyonaga  ga.  Probably  1782.  Diptych.  Size  15x20.  Lent 
by  Clarence  Buckingham. 

The  scene  represents  three  men  and  eight  women  drinking 
sake  (rice  beer)  and  listening  to  the  music  of  the  samisen  (a 
kind  of  guitar)  upon  which  one  of  the  party  is  playing. 

406.  GROUP  OF  WOMEN  UNDER  A  CHERRY  TREE. 
Signed :  Kiyonaga  ga.  Series :  Azuma  no  Nishiki.  Probably  1782. 
Size  15x10.  Lent  by  Clarence  Buckingham. 

Two  women  are  shown  seated  upon  a  bench  on  a  grass- 
covered  knoll.  Behind  them  stands  a  third  woman  and  beside 
her  a  young  girl  holds  a  portable  hibachi  (fire  box),  at  which 
one  of  the  women  is  lighting  a  pipe.  The  women  wear  a  pecu¬ 
liar  headdress  to  protect  their  coiffures  while  out  of  doors.  In 
this  year  Kiyonaga,  conscious  of  power,  essays  compositions  of 
extreme  difficulty.  Here  the  masses  are  arranged  diagonally  and 
vertically  in  sharply  contrasting  lines.  Only  a  consummate  mas¬ 
ter  could  save  such  an  arrangement  from  failure.  Note  how  the 
composition  is  held  together  bv  the  cloth  lying  upon  the  bench, 
and  the  red  sash  of  the  woman  in  gray. 

407.  BOATING  PARTY  UNDER  RYOGOKU  BRIDGE. 
Signed:  Kiyonaga  ga.  Probably  1782.  Triptych.  Size  15x30. 
Lent  by  Clarence  Buckingham. 

The  scene  shows  two  pleasure  boats  halted  under  the  bridge. 
The  yellow  wooden  piers  and  cross  ties,  with  the  green  land¬ 
scape  of  the  river  bank  showing  between,  form  a  dominant  note 
in  the  composition  which  is  one  of  Kiyonaga’s  finest  in  the  man¬ 
ner  of  this  year. 

408.  WOMEN  LANDING  FROM  A  PLEASURE  BOAT. 
Signed:  Kiyonaga  ga.  Probably  1782.  Triptych.  Size  15x30.  Lent 
by  Clarence  Buckingham. 

This  triptych  is  generally  regarded  as  one  of  Kiyonaga’s  mas¬ 
terpieces.  A  large  pleasure  boat  is  drawn  up  to  the  river  bank. 
Three  of  the  party  have  already  disembarked  and  another  is 
being  carried  ashore  on  the  back  of  a  young  man.  In  every  detail 
this  print  will  repay  careful  study. 

409.  WOMEN  GATHERING  IRIS. 

Signed:  Kiyonaga  ga.  Probably  1782.  Size  15x10.  Lent  by  John 
H.  Wrenn. 

On  the  bank  of  the  stream  stands  a  woman  wearing  a  straw 
sun  hat  and  holding  a  fan  in  her  hand.  Her  companion  is  kneeling 

-98- 


K I  YON AG A 


to  gather  the  iris  growing  at  the  edge  of  the  water.  On  the  further  * 
bank  is  a  bit  of  rustic  fence,  beyond  which  are  seen  branches  of 
the  hagi  (lespedeza)  in  bloom.  Perhaps  the  most  striking  thing  in 
this  print  is  the  way  in  which  the  pink  of  the  under  kimono  o! 
the  standing  figure  shines  through  the  overgarment  of  purple 
gauze. 

410.  WOMEN  SETTING  FORTH  FOR  A  WALK. 

Signed:  Kiyonaga  ga.  Probably  1783.  Size  101^x7^2.  Lent  by 
Frederick  W.  Gookin. 

At  the  entrance  to  a  house  a  woman  is  coming  forward, 
while  her  companion  halts  to  examine  her  coiffure  in  a  mirror. 
Upon  the  doorstep  in  front  a  maid  servant  is  arranging  their 
roji  geta  (clogs).  Beside  her  stands  a  boy.  At  the  top  of  the 
print  is  a  short  comic  ode  in  the  style  of  H&ika,  which  may  be 
freely  translated  “When  the  small  obi  (sash)  is  worn  it  gives 
life  to  the  hips.” 


KITAO  MASANOBU 

Iwase  Haida,  known  to  fame  as  the  artist  Kitao  Masanobu 
and  as  the  novelist  Kyoden,  was  born  in  Kiba,  Fukagawa,  Yedo, 
at  the  house  of  the  publisher  whose  shop  name  was  Ise-ya,  on 
the  18th  day  of  the  8th  month  of  Horeki  11  (1761).  In  early 
life  he  called  himself  Kyoya  Denzo  and  kept  a  shop  in  Kyobushi 
Ginza,  Nichome,  where  he  sold  tobacco,  pipes,  and  medicines. 
He  was  a  pupil  of  Kitao  Shigemasa.  His  prints,  though  few 
in  number,  are  of  great  distinction.  Without  doubt  his  reputa¬ 
tion  as  an  artist,  though  deservedly  high,  would  be  much  wider 
had  he  not  largely  devoted  his  energies  to  literary  work.  He  is 
celebrated  not  only  for  his  novels,  but  also  for  his  poems  and  in 
particular  for  the  comic  odes  he  wrote  under  the  pseudonym  of 
Migaru-  no-  Orisuke.  He  died  on  the  7th  day  of  the  9th  month 
of  Bunka  13  (1816)  and  was  buried  in  Ekoin  Temple,  Ryogoku, 
Yedo. 

41 1.  TSUI  MIZUAGI. 

Signed :  Kitao  Masanobu  ga.  About  1775.  Size  12x6.  Lent  by 
J.  Clarence  Webster. 

This  print  and  the  companion  piece  (No.  396)  represent  two 
of  the  tableaux  shown  upon  the  floats  used  in  the  procession  of 
the  Sanno  Matsuri,  the  largest  Shinto  festival  in  Edo.  The 

-99— 


KITAO  MASANOBU 

inscription  shows  that  the  float  upon  which  the  tsui  mizuagi  was 
shown,  was  contributed  by  the  merchants  of  Koami  street.  Under 
lanterns  bearing  the  mon  (badges)  of  famous  actors  stands  a 
girl  carrying  two  flower  baskets  hung  upon  a  bamboo  pole  used 
as  a  yoke.  At  her  feet  sits  a  man  holding  a  falcon. 

412.  THE  IMAYO  OTOME  DANCE. 

Signed :  Kitao  Masanobu  ga.  About  1775.  Size  12x6.  Lent  by 
J.  Clarence  Webster. 

Under  a  canopy  decorated  with  a  pine  branch  and  an  effigy 
of  the  mythical  ho-o  bird,  is  a  dancing  girl  holding  a  long-han¬ 
dled  umbrella.  This  float  was  contributed  by  tradesmen  of  Oke 
street. 

413.  TWO  YOSHIWARA  BELLES  AND  ATTENDANT. 
Not  signed.  About  1780.  Size  15x10.  Lent  by  Clarence  Bucking¬ 
ham. 

From  Masanobu’s  well-known  book  entitled  “Seiro  M'eikun 
Jihitsu  Shu.” 

414.  YOUNG  LOVERS  STANDING  UNDER  A  CHERRY 
TREE. 

Signed:  Masanobu  ga.  About  1781.  Hashira-e.  Size  28x5.  Lent 
by  Clarence  Buckingham. 

This  print  is  notable  both  for  the  superb  sweep  of  its  line,  and 
the  splendor  of  its  colour.  The  purple  and  the  beni  have  faded, 
but  the  other  colours  are  in  almost  pristine  freshness. 

415.  TWO  WOMEN  IN  SUMMER  COSTUME. 

Signed :  Masanobu  ga.  About  1781.  Hashira-e.  Size  28x5.  Lent 
by  Clarence  Buckingham. 

416.  LISTENING  TO  THE  HOTOTO-GISU  (CUCKOO). 
Signed :  Masanobu  ga.  Stamp :  Kitao.  About  1781.  Size  l5?4x 
22.  Lent  by  J.  Clarence  Webster. 

This  print  is  not  only  Masanobu’s  masterpiece,  but  is  one  of 
the  finest  in  all  Ukiyo-e.  It  is  also  one  of  the  largest  prints 
known.  This  copy — perhaps  unique,  no  other  being  known  in 
any  of  the  important  collections  in  Europe  or  America — is  in 
the  finest  condition  possible.  It  is  a  proof  impression,  printed 
with  the  utmost  care.  Except  that  the  red  has  faded  a  little  and 
has  gone  from  the  purple  of  the  kimonos  of  the  woman  seated 
and  the  one  with  the  umbrella,  and  that  the  sky  and  water  are  no 
longer  blue,  the  colour,  though  delightfully  toned,  is  not  greatly 

-100— 


KITAO  MASANOBU 


changed.  On  a  bench,  beneath  a  willow  tree,  a  man  and  a 
woman  holding  pipes  in  their  hands,  are  seated,  engaged  in  con¬ 
versation.  Before  them  stand  two  young  women,  one  of  whom, 
who  is  also  opening  an  umbrella,  turns  to  listen  to  the  notes  of 
a  cuckoo  that  is  seen  flying  through  the  air  above.  At  the  right 
a  boy  is  delightedly  prancing  about  a  frog  he  has  espied  upon  the 
boat  landing.  On  the  banks  of  the  stream  iris  are  growing.  At 
the  period  when  this  superb  print  was  made  Masanobu  was 
Kiyonaga’s  only  rival.  Had  he  maintained  the  high  standard 
set  in  it,  Kiyonaga  would  have  had  to  look  sharp  to  retain  his 
laurels.  But  it  was  under  the  influence  of  the  greater  man  that 
this  print  was  executed.  And  where  Masanobu  designed  one 
first  rate  work,  Kiyonaga  produced  twenty. 

417.  MAN  RESTING  ON  A  BENCH  NEAR  A  WAYSIDE 
TEAHOUSE. 

Signed:  Masanobu  ga.  About  1782.  Size  13x6.  Lent  by  J.  Clar¬ 
ence  Webster. 

This  print,  one  of  a  series  of  “lucky  occasions”  (Medeta 
hyaku  shu)  illustrates  a  poem  by  Yoyo  Akaro,  which  appears 
upon  it.  The  teahouse  is  not  shown,  but  the  serving  maid  is 
carrying  away  a  small  lacquer  stand  used  in  place  of  a  saucer. 

418.  THREE  YOSHIWARA  BELLES. 

Series:  Tosei  Bijin  Iro  Kisoi.  Signed:  Kitao  Masanobu  ga. 
Probably  early  in  1783.  Size  15x10.  Lent  by  J.  Clarence  Webster. 

The  principal  figure,  Yamashita  Hana,  wears  a  thin  black 
kimono  with  a  green  obi,  and  is  playing  with  a  kitten.  In  her 
right  hand  she  carries  a  round  fan,  and  her  hair  is  in  the  new 
style  of  Temmei  san  (1783).  Her  companions  still  have  the  old 
style  of  coiffure  in  which  the  ends  of  the  bamboo  splint  project 
slightly  beyond  the  wings. 


SHUNCHO 

This  artist,  who  was  known  familiarly  as  Kichizaemon,  was 
a  pupil  of  Katsukawa  Shunsho,  but  followed  the  style  of  Kiyo¬ 
naga  so  closely  that  were  it  not  for  the  signature  his  work  might 
well  be  taken  for  that  of  the  Torii  leader.  Many  of  his  prints 
are  extremely  fine  both  in  design  and  colour.  They  are,  how¬ 
ever,  weaker  than  those  of  Kiyonaga  and  more  uneven  in  merit. 
Besides  Shuncho,  he  signed  also  as  Bunrosai,  Churinsha,  Toshi- 


SHUNCHO 

en,  and,  late  in  life,  when  he  abandoned  the  Ukiyo-e  style, 
Kissado.  The  date  of  his  birth  and  death  are  not  known. 

419.  WOMAN  ON  THE  BANK  OF  THE  SUMIDAGAWA. 

Signed :  Shuncho  ga.  About  1778.  Hashira-e.  Size  26x4%.  Lent 
by  Frank  Lloyd  Wright. 

420.  WOMAN  WEARING  A  STRAW  HAT. 

Signed:  Shuncho  ga.  Publisher:  Eijudo.  About  1782.  Hashira-e. 
Size  25x4%.  Lent  by  Frank  Lloyd  Wright. 

421.  WOMEN  AT  A  BOAT  LANDING. 

Signed:  Shuncho  ga.  Publisher:  Tsuru  ya.  1783.  Size  15x10. 
Lent  by  Frederick  W.  Gookin. 

422.  WOMEN  AND  CHILD  AT  INSECT  SELLER’S 
BOOTH. 

Signed:  Ushido  ShunchS  ga.  Stamp:  “Shuncho.”  Publishers: 
Fushizen.  1783.  Size  15x10.  Lent  by  John  H.  Wrenn. 

This  is  one  sheet  of  a  triptych.  The  scene  is  the  bank  of 
the  Shinobazu  pond,  Ueno  park,  Edo. 

423.  STREET  PARADE  IN  THE  YOSHIWARA. 

Signed:  Shuncho  ga.  Publisher:  Senichi.  1783.  Triptych.  Size 
15x30.  Lent  by  Clarence  Buckingham. 

This  marvellous  print,  one  of  Shuncho’s  most  important 
works,  is  from  the  collection  preserved  by  the  publishing  house 
known  as  Daikokuya.  It  is  as  fresh  as  when  first  printed.  The 
colours,  chiefly  purples,  grays,  olives  and  greens,  have  apparently 
changed  very  little. 

424.  WOMAN  ENTERING  THE  DRESSING  ROOM  OF  A 
BATH  HOUSE. 

Signed :  Shuncho  ga.  About  1783.  Hashira-e.  Size  27x5.  Lent 
by  Frank  Lloyd  Wright. 


HOSODA  EISHI 

Theoretically,  at  least,  the  life  of  the  samurai  was  one  of 
extreme  frugality  and  almost  ascetic  self-denial.  Under  the 
peaceful  Tokugawa  rule,  however,  the  rigor  of  the  discipline  was 
so  much  relaxed  that  it  was  not  uncommon  for  men  of  the  two- 
sworded  class  to  adopt  the  freer  life  and  share  in  the  amuse- 

—102— 


EISHI 


ments  and  dissipation  of  the  common  people.  Among  those 
yielding  to  these  allurements  was  the  artist  Hosoda  Jibukyo 
Fujiwara  no  Tokitomi,  known  to  us  by  the  brush  name  of  Eishi 
(commonly  written  Yeishi,  although  the  Y  should  not  be 
sounded).  This  name  was  given  him  while  a  pupil  of  the  court 
painter  Kano  Eisen.  Fascinated  by  the  work  of  Okumura 
Masanobu  he  began  to  paint  in  Ukiyo-e  manner,  for  which  offense 
he  was  expelled  from  the  Kano  academy.  In  honor  of  Masanobu 
and  the  Torii  school  he  then  adopted  Chobunsai  as  one  of  his 
artist  names,  Cho  being  the  other  pronunciation  of  the  ideograph 
Tori,  Bun  being  a  part  of  one  of  Masanobu’s  appellations,  and 
Sai  (studio)  signifying  by  connotation  a  follower.  He  lived  at 
Hama-cho  near  Nihon  bashi  and  afterward  at  Honjo  Warigesui, 
Yedo.  The  dates  of  his  birth  and  death  are  unknown.  Many 
of  the  finest  prints  issued  during  the  culminating  period  in  the 
history  of  the  art  are  from  his  hand,  and  are  marvels  of  clever 
design  and  skillful  engraving  and  printing.  Recognizing  his 
ability  as  an  artist,  his  aristocratic  friends  tried  to  wean  him 
from  Ukiyo-e  ways  and  at  last  succeeded  to  the  extent  that  he 
gave  up  print  designing.  A  Japanese  historian  (quoted  hy 
Strange)  says :  “Unfortunately  Eishi  did  not  always  make  a 
wise  use  of  his  able  brush,  in  spite  of  the  wholesome  counsel  of 
his  well-wishers.  More  than  once  he  received  from  his  supe¬ 
riors  severe  admonitions  to  mend  his  ways,  which  at  last  so  cha¬ 
grined  him  that  he  destroyed  his  brushes,  and  swore  never  to 
paint  again  on  any  subject  whatsoever.” 

425.  KOMACHI  ARAL 

Signed:  Eishi  ga.  Series:  Furyu  Nana  Komachi  Seki  mori. 

1783.  Size  15x10.  Lent  by  J.  Clarence  Webster. 

Here  we  have  that  extremely  rare  thing,  a  dated  print.  It 
is  of  especial  importance,  as  it  places  Eishi’s  works  in  this  man¬ 
ner  several  years  earlier  than  has  hitherto  been  supposed,  and 
compels  revision  of  the  dating  of  prints  by  all  the  other  artists 
of  this  period.  The  date  “Temmei  san”  appears  upon  the  writing 
book  which  the  school  girl  carries  in  her  hand. 

In  the  foreground,  at  the  right,  a  woman  is  washing  linen 
in  a  wooden  tub.  At  the  left  stands  a  woman  carrying  a  pail, 
and  beside  her  in  the  center  of  the  picture  stands  a  school  girl. 
In  the  background  the  Sumida  river  is  shown.  The  title  tells 
us  that  the  subject  is  a  popular  version  of  an  incident  in  the  life 
of  Ono  no  Komachi,  the  famous  poetess  of  the  ninth  century. 
On  the  occasion  of  a  poetical  competition  at  the  Imperial  palace, 

-103— 


EISHI 


the  poet  Otomo  no  Kuronoshi  accused  her  of  having  taken  from 
the  Manyoshu  an  ancient  collection  of  odes,  the  poem  she  had 
just  recited.  In  support  of  the  allegation  he  brought  forth  a  copy 
of  the  book  with  her  poem  in  it.  Komachi  called  for  water  and, 
washing  the  book,  the  fresh  ink  disappeared  and  her  rival  was 
discomfited. 

426.  THREE  FIGURES  ON  THE  BANK  OF  THE  SU- 
S  MIDA  RIVER. 

Signed:  Eishi  ga.  Series:  Furyu  Nana  Komachi  Seki  mori. 

1783.  Size  15x10.  Lent  by  Frederick  W.  Gookin. 

This  is  one  of  a  series  of  seven  prints  representing  wealthy 
people  of  the  heimin  class  in  aristocratic  guise. 

427.  A  MIAI  ( LOOKING- AT-EACH-OTHER-MEETING). 

Signed:  Eishi  ga.  1783.  Size  15::10.  Lent  by  Frederick  W. 

Gookin. 

The  first  meeting  of  a  prospective  bride  and  groom  (see  note 
to  137)  is  here  represented  as  taking  place  at  a  tea-house  on  the 
bank  of  the  Sumida  river  in  Yedo.  It  is  in  the  month  of  March 
when  the  cherry  trees  are  in  bloom.  In  the  middle  distance 
where  the  bed  of  the  river  has  been  exposed  at  low  tide,  shiwohi 
(clam  diggers)  may  be  seen.  The  prospective  bride  having 
taken  a  cup  of  tea  from  the  hand  of  the  maid  by  her  side,  ad¬ 
vances  slowly  and  bashfully  to  offer  it  to  the  young  samurai  who 
is  destined  to  become  her  husband,  unless  she  so  utterly  fails  to 
find  favor  in  his  eyes  that  he  positively  refuses  to  conclude  the 
match — a  thing  of  rare  occurrence. 

428.  THREE  GIRLS  WALKING  NEAR  RICE  FIELDS. 

Signed:  Eishi  ga.  1783.  Size  15x10.  Lent  by  Frederick  W.  Gookin. 

This  print  is  in  Eishi’s  early  manner.  The  brilliance  im¬ 
parted  to  the  red  obi  of  the  central  figure  by  the  pattern  printed 
in  green,  is  noteworthy. 

429.  LADY  ALIGHTING  FROM  A  KAGO  TO  VIEW  THE 
BLOSSOMING  CHERRY  TREES. 

Signed :  Eishi  ga.  1783.  Triptych.  Size  15x30.  Lent  by  J.  Clar¬ 
ence  Webster. 

In  this  beautiful  composition  the  influence  of  Kiyonaga’s 
manner  is  apparent,  but  the  imitation  is  far  from  being  slavish. 
The  treatment  of  the  landscape  with  the  blossoming  cherry  trees 
and  the  view  of  Edo  bay  in  the  distance  is  Eishi’s  very  own. 

-104— 


no.  439 
Eishi 


•  hi  r:  ;n  .-.nt  »\  •'  ]'  ••'*'1  •  *-v’ 

■ 


i  Su  THREE  FIGURES  ON  THE  V: 

0  '.■  -ji  '  5  t«ji :r  :  fi'-Gocw. 

joie  v'i  i?k  «smin  clit'f"  i«  arwtttcr***:  jjwc. 


>  .f  S1  i  -  :  •=•»  L<  •  iy  Vf/ 

■  ,  5  »*.t  >«e»rv*  1  ■if.  vnu  |  I  >»HR  v 

'  xZt  it  t  :  l"v  ( 

■  ’  m  kfarcw 

PPL  «  -  'i-tancf 

hiaiS. 

v 

t  fc  ’n  :\it  h.m  *■■  lU,<  •  ’>  !scr  v 
! 

:ili'  in'  ,10*1  V>  v  \(t  '''  ’•  'Utlc 

■.  i  .  ..»•  -V 


■  V*  GIRL?  WALKING  NEAR  FUSE  FinXPS.^ , 

i  •  li  i.  J78J.  Sitt  If’ 10  Leo*  y  .  Go-. 

ifd  :  «rtf  r'.inn  *’  rc 


■ 

-4  m'NC  '.‘'HERfft  •.  i' ... 

v  }  i  im  Triffy*:  S‘iW  t5x»  IfM  i*  J-  <•* 

•  V  -t  ' 1.  the  influence  of  K*  1  “ 

l  :  '*w  ,  vdor  h  >4t  >rom  Vi*  *'•*" 

•-.j*  ' '  «v>  i  j  r in  >h«  '  Mtaturit  it-  E  *"rv 

. 


■  2 


430.  READING  OVER  THE  LETTER. 

Signed:  Eishi  ga.  About  1784.  Hashira-e.  Size  25^4x4^4.  Lent 
by  Frank  Lloyd  Wright. 

A  woman  seated  by  a  box  of  writing  materials  is  reading  over 
a  letter  she  has  just  written.  By  her  stands  a  woman  wearing  a 
black  robe  having  a  pattern  of  large  cherry  blossoms. 

431.  PORTRAITS  OF  THE  GEISHAS  OHANA  AND 
OFUKU. 

Signed :  Eishi  zu.  Series :  Seiro  Geisha  Erami.  Publisher : 
Maruiwa.  About  1784.  Size  15x10.  Lent  by  Clarence  Buckingham. 

The  drawing  in  this  print  should  be  considered  as  a  study  in 
line  composition  in  which  sharp  angles  and  a  certain  rigidity  in 
the  figures  are  brought  into  harmonic  relation  with  gently  flow¬ 
ing  curves. 

432.  MORNING  GLORY  FETE. 

Signed:  Eishi  ga.  Series:  Furyu  Yatsushi  Gengi.  Publisher: 
Senichi.  About  1784.  Triptych.  Size  15x30.  Lent  by  Clarence 
Buckingham. 

In  the  center  a  young  man  typifying  Prince  Gengi  is  seated 
with  writing  materials  and  a  spray  of  asagawo  (morning  glory) 
before  him,  preparatory  to  composing  an  ode  upon  it.  About  him 
a  number  of  women  are  grouped  in  various  attitudes.  The 
colour  scheme  is  a  harmony  of  purples,  grays  and  blacks,  with 
a  few  yellow  notes. 

433.  PORTRAIT  OF  THE  TAYU  KISEGAWA  OF  MA- 
TSUBA-YA. 

Signed:  Eishi  zu.  Series:  Seiro  Bijin  Rokka  sen.  Publisher: 
Eijudo.  About  1785.  Size  15x10.  Lent  by  Frederick  W.  Gookin. 

Kisegawa  is  shown  seated,  holding  on  her  lap  a  makimono 
of  the  Ise  Monogatari  (a  classical  romance). 


434-  THE  TAYU  HANA-OGI  OF  OGI-YA. 

Signed:  Eishi  zu.  Series:  Seiro  Bijin  Rokka  Sen  (Six  Flower 
Series  of  Green  House  Beauties.)  Publisher:  Eijudo.  About  1785. 
Size  15x10.  Lent  by  Frederick  W.  Gookin. 

Seated  before  a  black  lacquer  table  the  woman  is  preparing 
to  write  a  poem  upon  the  fan  held  in  her  left  hand.  Her  coiffure 
is  in  the  style  known  as  hioma  which  was  used  by  tayu  only. 


EISHI 


435.  A  GARDEN  FETE. 

Signed:  Eishi  ga.  Series:  Furyu  Yatsushi  Genji.  Publisher: 
Senichi.  About  1788.  Triptych.  Size  15x30.  Lent  by  Clarence 
Buckingham. 

436.  INSECT  GATHERERS. 

Signed:  Eishi  ga.  Publisher:  Eijudo.  About  1788.  Triptych. 

Size  15x30.  Lent  by  Clarence  Buckingham. 

This  beautiful  composition  represents  a  popular  version  of  a 
party  of  ladies  of  rank,  with  their  attendants,  gathering  singing 
insects.  Two  of  the  party  hold  the  tiny  cages  in  which  the 
captive  insects  are  kept. 

437.  LANTERN  FESTIVAL  UNDER  A  WISTARIA  AR¬ 
BOR. 

Signed:  Eishi  zu.  Publisher:  Eijudo.  About  1791.  Triptych. 

Size  15x30.  Lent  by  Clarence  Buckingham. 

In  the  centre  a  young  man  with  a  fan  tied  upon  his  head  is 
dancing,  while  in  a  circle  about  him  are  eight  women,  some  seat¬ 
ed  and  others  standing.  Two  are  playing  the  samisen,  others 
are  clapping  hands,  while  two  .-have  hold  of  the  ends  of  a  rope 
having  a  large  loop  in  the  middle.  The  dance  is  mimetic.  The 
dancer  represents  a  fox  disguised  as  a  man.  By  the  loop  in  the 
rope  is  an  inro  (medicine  case)  on  a  sheet  of  paper.  This  repre¬ 
sents  the  bait  to  catch  the  fox.  The  dancer’s  aim  is  by  a  rapid 
movement  to  grab  the  inro  without  being  caught  by  the  rope. 

438.  POPULAR  VERSION  (ANALOGUE)  OF  A  MUSIC- 
ALE  IN  THE  SHOGUN’S  PALACE. 

Signed :  Eishi  zu.  Publisher :  Eijudo.  About  1791.  Pentaptych. 
Size  15x50.  Lent  by  Clarence  Buckingham. 

This  print,  which  was  one  of  the  treasures  preserved  by  the 
old  Tokyo  publishing  house  known  as  Daikoku-ya,  is  a  superb 
copy  of  Eishi’s  most  important  work. 

439.  PORTRAIT  OF  THE  TAYU  MI-I-ZAN  OF  SHOJI-YA 
IN  NIGHT  COSTUME. 

Signed :  Eishi  gi  gwa.  Publisher :  Maru-iwa.  About  1795.  Size 
15x10.  Lent  by  John  H.  Wrenn. 

In  the  prints  of  the  series  “Seiro  Bisen  Awase”  Eishi  rose 
to  a  height  that  is  unsurpassed  by  any  other  artist  of  the  school. 
Copies  of  some  of  them  were  printed  with  silver  backgrounds 
instead  of  the  chocolate  colour  that  appears  in  this  print  and 
No.  440. 

—106- 


EISHI 


440.  PORTRAIT  OF  THE  TAYU  HAN  A  MURASAKI  OF 
TAMA-YA. 

Signed :  Eishi  gi  ga.  Publisher :  Maru-iwa.  About  1795.  Size 
15x10.  Lent  by  Clarence  Buckingham. 

Eishi  being  of  samurai  rank  felt  it  ignoble  to  make  portraits 
of  women  of  the  Yoshiwara,  so  in  this  series  he  added  to  his 
signature  the  word  “gi,”  signifying  that  he  made  the  designs  as 
a  joke.  Almost  if  not  quite  the  last  word  in  the  art  of  colour 
printing  would  seem  to  have  been  uttered  in  the  remarkable 
series  to  which  this  print  belongs. 


SHOKOSAI  EISHO 

Except  that  he  was  a  pupil  of  Eishi  nothing  is  known  about 
this  artist.  His  work  resembles  that  of  his  master  but  is  much 
weaker. 


441.  TALL  WOMAN. 

Signed :  Eisho  ga.  Publisher :  Yama-han.  About  1784.  Hashira-e. 
Size  25x4%.  Lent  by  Frank  Lloyd  Wright. 

442.  VERY  TALL  WOMAN. 

Signed:  Eisho  ga.  Publisher:  Eijudo.  About  1793.  Hashira-e. 
Size  26^4x4^2.  Lent  by  Frank  Lloyd  Wright. 


ARTISTS  UNKNOWN 

443.  TWO  WOMEN  STANDING  IN  A  BOAT. 

Not  signed.  About  1783.  Haoiiira-e.  Size  24}4x4 V2.  Lent  by  Frank 
Lloyd  Wright. 


444.  TWO  WOMEN. 

Not  signed.  About  1783.  Hashira-e.  Size  24j4x4H-  Lent  by  Frank 
Lloyd  Wright. 


445-  THE  OIRAN  SOMENOSUKE  OF  MATSUBAYA. 

Not  signed.  About  1793.  Hashira-e.  Size  24}4x4j4.  Lent  by  Frank 
Lloyd  Wright. 


—107— 


KUBO  SHUNMAN 

This  artist,  whose  personal  name  was  Ihei  Shosadd,  who  was 
a  pupil  of  an  artist  named  Kajitori  Nahiko.  He  lived  in  Yedo 
at  Kanda  Tomimatsu-cho.  Like  many  of  the  Ukiyo-e  artists 
he  was  also  an  author  of  note.  His  comic  poems,  which  gained 
him  much  renown,  were  signed  Nandaka  Shiran,  a  name  having 
the  similitude  of  that  of  a  Buddhist  sage,  but  when  written  in 
the  Japanese  kana,  signifying  “I  don’t  know  what  it  is.”  He  is 
said  to  have  painted  with  his  left  hand.  His  prints  have  strong 
individuality,  especially  in  their  colour  schemes. 

446.  STREET  SCENE  OUTSIDE  A  VILLA  AT  NIGHT. 

Signed :  Shosado  Kubo  Shunman  ga.  Stamp :  Shunman.  About 
1790.  Triptych.  Size  15x30.  Lent  by  J.  Clarence  Webster. 

447.  GROUP  OF  YOUNG  MEN  AND  WOMEN  IN  THE 
COUNTRY 

Signed:  Shunman  ga.  About  1790  Triptych.  Size  15x30.  Lent 
by  J.  Clarence  Webster. 

This  triptych  is  part  of  a  five-sheet  composition,  “The  Six 
Tamagawa.” 

448.  PEOPLE  GATHERING  WILD  FLOWERS. 

Signed :  Shosado  Kubo  Shunman  ga.  Stamp :  Shunman.  About 
1798.  Surimono.  Size  7j4x20}4.  Lent  by  Clarence  Buckingham. 


KITAGAWA  UTAMARO 

The  celebrated  artist  known  as  Utamaro  was  a  wayward  son 
of  Toriyama  Sekien,  a  painter  of  the  aristocratic  Kano  school 
who  had  evolved  a  style  of  his  own.  The  young  man  whose 
personal  name  was  Yusuke,  studied  under  his  father  and  for  a 
time  used  the  signature  Toriyama  Toyoaki.  Following  a  quarrel 
with  his  father,  who  is  said  to  have  been  so  vexed  by  his  disso¬ 
lute  ways  that  he  disowned  him,  he  adopted  the  name  of  Kita¬ 
gawa  Utamaro,  took  to  Ukiyo-e  and  made  his  home  with  the 
publisher  Tsutaya  Shigesaburo  near  the  entrance  to  the  Yoshi- 
wara.  His  life  was  spent  in  debauchery  which  did  not,  however, 
prevent  him  from  producing  an  immense  volume  of  work  of  ex¬ 
ceptional  quality.  He  had  a  fertile  brush  and  his  compositions 
are  among  the  most  striking  and  original  works  of  the  school. 
In  his  day  he  was  very  popular  and  had  many  imitators.  This 
popularity  continued  after  his  death  and  led  to  the  publication 

-108- 


UTAMARO 


V 

of  many  prints  by  other  artists  to  which  the  signature  of  Utamaro 
was  appended.  He  died  in  1806  at  the  age  of  fifty-three.  De¬ 
tailed  information  about  his  life  and  descriptive  lists  of  his  works 
may  be  found  in  Goncourt’s  book  about  him,  and  in  a  recently 
published  elaborate  work  by  Dr.  Julius  Kurth. 

449.  MAN  AND  TWO  WOMEN  ON  THE  VERANDA  OF 
A  TEA  HOUSE. 

Signed:  Utamaro  ga.  Publisher:  Tsutaya.  About  1783.  Size 
15x10.  Lent  by  Frederick  W.  Gookin. 

In  Utamaro’s  early  prints  the  influence  of  Kiyonaga’s  style 
is  dominant,  but  he  does  not  quite  catch  it  and  soon  finds  it  easier 
to  develop  his  own  manner  than  to  ape  that  of  anyone  else. 

450.  NEW  YEAR’S  SCENE. 

Not  signed.  1786.  Size  834x14%.  Lent  by  John  H.  Wrenn. 

This  is  one  of  the  illustrations  from  a  book  entitled  “Ehon 
Waka  Ebisu.” 


451.  FETE:  IN  A  CHINESE  PALACE  OVERLOOKING  A 
LAKE. 

Signed:  Utamaro  ga.  Publisher:  Tsutaya.  About  1792.  Triptych. 
Size  15x30.  Lent  by  J.  Clarence  Webster. 

This  is  an  Ukiyo-e  version  of  a  Chinese  subject.  The  cos¬ 
tumes  and  other  details  are  a  curious  conglomeration  of  Chinese 
and  Japanese  style,  the  design  being  to  afford  amusement  by  the 
clever  travesty  of  classical  ways. 

452.  PROCESSION  OF  THE  COREAN  AMBASSADORS 
BURLESQUED  BY  THE  WOMEN  OF  THE  YOSHI- 
WAWA. 

Signed:  Utamaro  hitsu.  About  1794.  Heptaptych.  Size  15x70. 
Lent  by  J.  Clarence  Webster. 

This  is  one  of  the  most  noted  of  Utamaro’s  prints,  and  also 
one  of  the  rarest,  only  a  few  perfect  copies  being  known  to  exist. 


453.  THE  SUZUHAKI  OR  HOUSE-CLEANING  BEFORE 
NEW  YEAR’S.  ^ 

Signed:  Utamaro  hitsu.  Publisher:  Yamada.  Triptych.  Size 

15x30.  Lent  by  Clarence  Buckingham. 

This  triptych  is  part  of  a  five-sheet  composition. 

—109— 


UTAMARO 


454.  WOMAN  LOOKING  AT  THE  REFLECTION  OF  HER 
FACE  IN  A  MIRROR. 

Signed:  Utamaro  hitsu.  Publisher:  Yamamatsu.  Dated:  1797. 
Size  15x10.  Lent  by  Clarence  Buckingham. 

At  the  top  of  the  print  is  a  square  cartouche  showing  a 
boy  dancing,  a  sake  bottle,  some  blazing  fagots,  and  a  huge 
snake.  Other  small  objects  are  introduced,  the  whole  forming 
a  conundrum  or  puzzle  picture.  What  is  of  especial  interest  is 
that  the  projecting  tongue  of  the  snake  forms  the  character  “ku” 
(nine),  thus  indicating  the  snake  year,  Kansei  nine  (1797). 

455.  TWO  GEISHAS  ATTIRED  AS  ACTORS  IN  A  NI- 
WAKA  OR  BURLESQUE  THEATRICAL  PERFORM¬ 
ANCE  IN  THE  STREETS  OF  THE  YOSHIWARA. 

v 

Signed:  Utamaro  ga.  Series:  Seiro  Niwaka  Onnageisha  no  bu. 
Publisher:  Tsutaya.  About  1797.  Size  15x10.  Lent  by  Clarence 
Buckingham. 

About  the  year  1797  Utamaro  began  to  design  his  famous 
large  heads  and  busts  of  girls.  This  print  and  the  next  number 
belong  to  one  of  his  most  important  series.  The  silver  back¬ 
ground  is  an  innovation  and  great  pains  have  been  taken  with 
the  drawing  and  colouring. 

456.  THREE  GEISHAS  AS  FAN  SELLERS  IN  A  NI¬ 
WAKA. 

Signed:  Utamaro  ga.  About  1797.  Size  15x10.  Lent  by  Clarence 
Buckingham. 

457.  OIRAN  AND  TWO  ATTENDANTS  WITH  TRANS¬ 
PARENT  HEAD  COVERINGS. 

Signed:  Utamaro  hitsu.  Publisher:  Tsutaya.  About  1797.  Size 
15x10.  Lent  by  Clarence  Buckingham. 

One  of  the  attendants  carries  a  gourd;  the  other  a  bam¬ 
boo  pole  laden  with  cha-sen  or  whisks  for  making  ceremonial 
tea. 

458.  LARGE  HEAD  AND  BUST  OF  A  WOMAN  HOLD¬ 
ING  A  ROUND  FAN. 

Signed:  Utamaro  hitsu.  Publisher:  Tsutaya.  About  1797.  Size 
15x10.  Lent  by  Clarence  Buckingham. 

A  rarely  beautiful  example  of  the  earlier  type  of  Utamaro’s 
large  heads  of  girls.  A  few  years  afterward  the  heads  became 
much  larger ;  no  example  of  the  type,  however,  is  shown  in  this 
exhibition. 


-no- 


UTAMARO 

459.  HEAD  AND  BUST  OF  A  WOMAN  CARRYING  A 
BOWL  ON  A  LACQUER  STAND. 

Signed:  Utamaro  hitsu.  Publisher:  Tsutaya.  About  1797.  Size 
15x10.  Lent  by  Clarence  Buckingham. 

Another  print  of  the  same  series  as  the  foregoing. 

460.  LARGE  HEAD  AND  BUST  OF  A  WOMAN  READING 
A  LETTER. 

Signed :  So  Kan  Somi  (i.  e.,  Clairvoyant.)  Utamaro  ko  go.  Series : 
Fujo  ninso  ji  pin  (Ten  physiognomies  of  women.)  Publisher: 
Tsutaya.  About  1798.  Size  15x10.  Lent  by  Frederick  W.  Gookin. 

461.  THE  LOVERS  INOSUKE  AND  WAKAKUSA. 

Signed:  Utamaro  hitsu.  Publisher:  Yamada.  About  1797.  Size 
15x10.  Lent  by  Frank  Lloyd  Wright. 

462.  YOSHIWARA  WOMEN  IN  A  KAGURA  OR  MUSIC¬ 
AL  PERFORMANCE  BEFORE  A  SHINTO  TEMPLE. 

Signed:  Utamaro  hitsu.  Series:  Fuzoku  Bijin  Tokei  (Customs  of 
Women).  Publisher:  Senichi.  About  1797.  Size  15x10.  Lent  by 
Clarence  Buckingham. 

The  tall  woman  holds  in  her  right  hand  a  musical  instru¬ 
ment  composed  of  thirteen  little  bells  fastened  to  a  holder.  In 
her  left  hand  and  thrown  across  her  shoulder  she  carries  a 
long-handled  fan  attached  to  which  are  numerous  gohei  or  strips 
of  paper,  cut  in  a  peculiar  fashion,  being  symbolical  of  the  kami 
or  spirits  of  deceased  ancestors.  The  young  woman  plays  a 
yokobue  (flute). 

463.  AN  OIRAN:  DONE  IN  A  NEW  STYLE  OF  NISHI- 
KI-E. 

Signed :  Utamaro  hitsu.  About  1797.  Size  15x10.  Lent  by  John 
H.  Wrenn.  I 

This  is  one  of  Utamaro’s  important  works,  marking  an  ex¬ 
periment  in  a  new  style,  the  chief  characteristic  of  which  is  the 
omission  of  the  caligraphic  outline.  Upon  a  makimono  (scroll) 
in  the  upper  left  hand  corner  is  the  title  Nishikiori  (woven  of 
beautiful  colours),  Utamaro  gata  (style),  shin  (new),  moyo 
(pattern),  and  a  whimsical  inscription  in  eight  lines.  Being  a 
play  upon  words  and  embodying  a  number  of  jokes  and  double 
meanings  it  is  practically  untranslatable,  but  its  principal  sig¬ 
nification  may  be  rendered  as  follows :  The  spirit  of  my  brush 
work  is  fine  and  the  caligraphic  outline  in  black,  even  though  it 

-111- 


UTAMARO 


be  rough  and  sketchy,  is  instinct  with  life.  (This  is  at  once  a 
facetious  boast  and  a  reference  to  the  print  wherein  the  outline  is 
omitted).  Though  prints  be  made  with  many  colours,  yet,  like 
the  shallow  Chinese  paintings,  the  graceful  forms  of  the  figures 
shall  be  lost.  (The  colours  used  in  this  print,  it  will  be  noted, 
are  few  and  quiet  in  hue).  Therefore,  the  fee  of  my  brush  is  “as 
high  as  my  nose”  (an  expression  denoting  pride),  and  the  pub¬ 
lisher  who  buys  cheap  designs  which,  in  comparison  with  this 
are  as  the  lowest  Yoshiwara  woman  is  to  the  Tayu,  will  thereby 
have  his  nose  crushed  (that  is,  have  his  pride  taken  down). 

464.  TWO  YOSHIWARA  BELLES  IN  NIWAKA  DRESS. 
Not  signed.  Publisher:  Yamamori.  About  1798.  Size  15x10.  Lent 
by  Frank  Lloyd  Wright. 

465.  TOFU  SELLER  AT  GION  TEMPLE. 

Signed:  Utamaro  hitsu.  Series.  Fujin  Tewaza  Juni  ko.  About 
1798.  Size  15x10.  Lent  by  Clarence  Buckingham. 

466.  A  NIGHT  EXCURSION. 

Signed  :  Utamaro  hitsu.  Series  :  Jikyo  Iro  no  Bimyo  Iemi.  About 
1798.  Size  15x10.  Lent  by  J.  Clarence  Webster. 

This  is  a  superb  copy  of  one  of  Utamaro’s  most  famous  prints. 
The  inscription  gives  the  names  of  the  people  represented,  as 
Jihei  of  Kameya  and  the  Koharu  of  Kinokuni  ya. 

467.  THE  LOVERS  MUMEGAWA  AND  CHUBEI. 

Signed:  Utamaro  hitsu.  About  1798.  Size  15x10.  Lent  by  Frank 
Lloyd  Wright. 

468.  THE  KITCHEN. 

Signed :  Utamaro  hitsu.  Publisher :  Kamimura.  About  1798.  Dip¬ 
tych.  Size  15x20.  Lent  by  Clarence  Buckingham. 

469.  THREE  WOMEN  UNDER  A  WISTARIA  ARBOR. 
Signed:  Utamaro  hitsu.  Publisher:  Tsutaya.  About  1798.  Size 
15x10.  Lent  by  Clarence  Buckingham. 

Beautiful  though  this  print  undoubtedly  is,  in  the  use  of 
brown  flock  to  represent  in  a  realistic  manner  the  texture  of  the 
rug  thrown  over  the  bench  upon  which  one  of  the  women  is 
seated,  it  shows  a  leaning  toward  novelty  for  its  own  sake  that 
is  significant  of  decadence. 

470.  THE  LOVERS  JIHEI  AND  KOHARU. 

Signed :  Utamaro  hitsu.  Publisher :  Murataya.  About  1798.  Ha- 
shira-e.  Size  25%x5%.  Lent  by  Clarence  Buckingham. 

-113- 


NO.  467 

Utamaro 


v  ;  * M  s\?TO 


tv  a -it.  J;ekhy:  is  iissrt/iwi  Vt’ii  IfiV  (This  it*  -a?  once  a 

i  :?■  )•-  a  a  K-s '.‘fence)  to  he  f  on  .vhcr-  m  *  *  oe  ..  •  is 
omitted;,  Though  prints  h.t  ms4/-  *<•;»;•  -any  c  Mar.-,  •;«,  r.ke 
i!  >  »UaU  Ch..  -  ;  ..  Mii'"/;  ,  ;he  -r  :  —  •  *  inn.-  •.£  ho  figures 


shaft 

be  h$t  < 

The  colour: 

rthed 

lt:h  t.*r 

r  will 

he  n 

w  and  qui 

O  iu  htfc).  T 

Imre; 

'ore. 

the  ft 

ray  hi 

'Ufh  i 

high 

*  (jjy  nose’’  faft  expret 

$ion 

<ler>< 

■.f  jrt  r 

}.  ajk 

i  the 

}WO- 

!i--‘  ■ ' T 

c  fcatv 

rh-eap  designs  w 

dmii 

in  v 

tct& 

this 

£,;?  r 

;  *bf-  Jowr  t' 

-  Yoshiv/eri. 

worn 

tit  is 

to  th 

it  Ta 

v  'u,  v 

i|!  thereby 

y&vu 

qi>  none  •' 

' 

;5,  1 

save 

his  pi 

»). 

464 

i  wo  y» 

>SH1WAR  A 

IJftS 

IN 

NtVV 

•\K_A 

DR 

i-JiSL 

iVot  Ntftft&j 

T4- -Vc  :  V 

i  ^rf*  , 

k'tij 

(70S 

Sta*  1 

&tlDf 

Last 

r-  >  i; 

k-yd  Wri-Hit 

-  O.YK  AT  C 

r  i pit 

MPT 

E. 

?*»•  '.Cl  1-v  ;  ■  :f]»  lev 


NICHT  £XO  flftSJOJT. 

•mt*  c  t  >m.  rtiic&  ]3kffi  Jrn  rit>  Bis-iyxt 


\0p  .0.: 


o’i-SmejU 

K >■• ;  h  iunVurif 


D  C ’rf-  'K  t. 

tSi  0,  1  •«  •  jr 


i-  jj  "  s-ib)-  •'.** -  K.’i  imv'i.  \bc*n  .*'•<•>.  !. 

J.  !  n  >•  C  ;•  •  Buctir  gh?*: . 


UTAMARO 


471.  THE  LOVERS  MUMEGAWA  AND  CHUBEI. 

Not  signed.  About  1798.  Hashira-e.  Size  24x5.  Lent  by  Frank 
Lloyd  Wright. 

472.  THE  LOVERS  AGEMAKI  AND  SUKEROKU. 

Signed:  Utamaro  hitsu.  About  1799.  Hashira-e.  Size  25^x6.  Lent 
by  Frank  Lloyd  Wright. 

.  .  ■  •  ■  '  ..-  ■  ’  ' 

473.  MOTHER,  CHILD  AND  MAID  SERVANT. 

Signed:  Utamaro  hitsu.  Publisher:  Yuwatoya.  About  1799.  Size 
20 x7G-  Lent  by  Clarence  Buckingham. 

A  tall  woman  turns  to  look  at  her  infant  son  who  has  covered 
his  head  with  her  gauze  kimono,  while  the  maid  servant  kneel¬ 
ing  endeavors  to  restrain  him. 

Utamaro’s  manner  now  undergoes  a  decided  change.  The 
figures  have  become  extremely  tall,  the  faces  are  elongated  and 
the  eyes  diminished  in  size..  The  fashion  of  the  day  in  hair  dress¬ 
ing  is  reflected  in  the  ballooii-like  top-knot  that  has  been  steadily 
growing  lkfger  for  some  time. 

474.  WOMEN  CATCHING  FIREFLIES. 

Signed:  Utamaro  hitsu.  Publisher:  Senichi.  About  1800.  Trip- 
typch.  Size  15x30.  Lent  by  J.  Clarence  Webster. 

475.  WOMAN  SEATED  ON  A  VERANDA. 

Signed:  Utamaro  hitsu.  About  1801.  Size  15x10.  Lent  by  Frank 
Lloyd  Wright.  -  '  -  <  '  '  ■  •/  : 

Utamaro’s  figures  have  now  grown,  extravagantly  tall  and  the 
balloon-like  topJknot  of  the  coiffure  becomes  as  large  as  the 
wearer’s  head. 

■  ■  "  r.v/  ov  9aq»mipr  bs;l 

476.  BED  TIME. 

Signed:  Utamaro  hitsu.  Publisher:  Tsuruya.  About  1801.  Trip¬ 
tych.  Size  15x30.  Lent  by  J.  Clarence  Webster. 

Six  very  tall  women  are  shown  preparing  for  ■  rest  under  a 
htige  canopy  of  mostfurto  netting.  1  ’  :  "  -  ••  r  a 

•  w  ,  W:; -iorm  iVUv,-  .  f  lmoln-i^;^  -r  ■ 

477-  THE.  OIRAN  HQKKOKU  AND  ATTENDANT. 

Signed:  Utamaro  hitsu.  Publisher:  Murataya.  About  1801.  Size 
2014x914.  Lent  by  Frank  Lloyd  Wright. 

ISftBLtp  Orff  hi  o  bovil  ■  .  .  ■ 

47&  MOTHER  AND  DAUGHTER. 

Signed:  Utamaro  hitsu.  Publisher:  Murataya.  About  1801.  Si£e 
2014x9%.  Lent  by  Frank  Lloyd  Wright.  <  *  : 


UTAMARO 

479.  MAN  AND  WOMAN  IN  A  SHOWER. 

Signed:  Utamaro  hitsu.  Publisher:  Murataya.  About  1801.  Size 
20%x914.  Lent  by  Frank  Lloyd  Wright. 

480.  GIRLS  GATHERING  PERSIMMONS. 

Signed:  Utamaro  hitsu.  About  1801.  Triptych.  Size  15x30.  Lent 
by  J.  Clarence  Webster. 

Though  Utamaro  is  getting  near  to  the  end  of  his  career  his 
invention  does  not  flag.  The  colour  scheme  in  this  spirited  print 
is  unlike  anything  preceding  it. 

481.  AN  UKIYO-E  VERSION  OF  A  NOBLE  LADY  DE¬ 
SCENDING  FROM  A  GOSHO-GURUMA  (COURT 
WAGON)  TO  VISIT  A  TEMPLE. 

Signed:  Utamaro  hitsu.  Publisher:  Senichi.  About  1804.  Trip¬ 
tych.  Size  15x30.  Lent  by  J.  Clarence  Webster. 

482.  WOMAN  IN  SUMMER  COSTUME. 

Signed:  Utamaro  hitsu.  About  1804.  Size  15x10.  Lent  by  Fred¬ 
erick  W.  Gookin. 

In  the  right-hand  upper  corner  appears  the  sign  of  Itsukura, 
one  of  the  leading  drapers  of  Yedo,  and  the  inscription  reads: 
“Designs  of  fabrics  at  Itsukura’s  shop,”  The  style  of  hair  dress¬ 
ing  was  known  as  kata-hazushi  (half-dressed). 


UTAGAWA  TOYOKUNI 

In  the  later  history  of  the  Ukiyo-e  school  no  artist  holds  a 
more  prominent  place  than  the  first  Toyokuni.  In  his  day  he 
had  immense  vogue,  and  he  was  indeed  an  artist  of  much  ability, 
but  the  great  popularity  of  his  prints  led  to  the  publication  of 
works  upon  which  comparatively  little  time  was  expended,  and  to 
a  gradual  but  steady  deterioration  in  their  artistic  qualities.  His 
early  works  are  by  far  his  best.  Many  of  them  are  very  beauti¬ 
ful,  charming  in  colour  and  engraved  and  printed  with  great 
care.  He  was  the  originator  of  a  new  style  of  actor  prints,  highly 
appreciated  by  the  devotees  of  the  theatre  for  their  realistic  char¬ 
acterizations.  Toyokuni’s  personal  name  was  Gorobei  Kuma- 
kichi.  He  was  the  son,  born  in  1769,  of  Gorobei  Kurahashi,  a 
carver  of  wooden  images,  who  lived  in  Yedo,  in  the  quarter 
known  as  Shiba.  He  first  studied  under  Utagawa  Toyoharu  and 
Afterward  he  became  a  pupil  of  Utagawa  Toyoharu  and  still 
later  is  said  to  have  had  Shunei  for  a  master.  He  died  on  the 

-114- 


toyokuni 


7th  of  the  first  month  of  Bunsei  8  (1825)  and  it  is  said  that  when 
he  was  buried  some  500  or  600  of  his  drawings  were  placed  in 
the  grave  with  his  body.  A  monument  in  the  Temple  of  Koun 
at  Mita  Hijirizaka  was  erected  to  his  memory. 

483.  THE  FOOT  BALL  COURT. 

Signed:  Toyokuni  ga.  About  1732.  Triptych.  Size  15x30.  Lent  by 
J.  Clarence  Webster. 

484.  GROUP  OF  PEOPLE  AT  THE  SEA  SHORE. 

Signed:  Toyokuni  ga.  About  1793.  Triptych.  Size  15x30.  Lent  by 
J.  Clarence  Webster. 

485.  GROUP  OF  WOMEN  ON  A  BALCONY  OVERLOOK¬ 
ING  THE  SEA. 

Signed:  Toyokuni  ga.  Publisher:  Senichi.  About  1793.  Size 
15x10.  Lent  by  Frederick  W.  Gookin. 

486.  ANOTHER  SHEET  OF  THE  SAME  TRIPTYCH  AS 
THE  FOREGOING. 

Lent  by  Frederick  W.  Gookin. 

5  •)'  c;  N  sDrmr  j  T  vd  *.  P  ■  < 

487.  GROUP  OF  WOMEN  IN  A  JOROYA. 

Signed:  Toyokuni  ga.  Publisher:  Senichi.  About  1793.  Size 
1510.  Lent  by  John  H.  Wrenn. 

In  this  print  and  the  two  preceding  numbers  we  have  the 
characteristic  colour  scheme  in  violet,  gray  green  and  pale  orange, 
of  which  Toyokuni  was  very  fond. 

488.  TWO  LARGE  HEADS  OF  ACTORS. 

Signed:  Toyokuni  ga.  Publisher:  Yamaden.  About  1797.  Size 
15x10.  Lent  by  Clarence  Buckingham. 

Toyokuni  was  not  backward  in  adopting  for  his  actor  prints 
large  heads  after  the  manner  of  Utamaro. 

48Q.  ICHIKAWA  DANJURO  AND  A  SMALL  BOY. 

Signed:  Toyokuni  ga.  Publisher:  Senichi.  About  1798.  Size 
15x10.  Lent  by  Clarence  Buckingham. 

490.  FOOT  BALL  PLAYERS. 

Signed:  Toyokuni  ga.  Publisher:  Yawatoya.  About  1801.  Size 
20x8.  Lent  by  Clarence  Buckingham. 

—lis— 


TOYOKUNI 


491.  THE  ACTOR  IWAI  HANSHIRO  IN  A  FEMALE 
ROLE. 

Signed :  Toyokuni  ga.  Publisher :  Senichi.  About  1802.  Size 
15x10.  Lent  by  J.  Clarence  Webster. 

492.  ICHIKAWA  KORAIZO  AS  AKUHACHIRO  TOKI- 
KAGE  AND  NAKAYAMA  TOMISABURO  AS  ROKU- 
ROZAEMON. 

Signed:  Toyokuni  ga.  Publisher:  Eijudo.  About  1802.  Size 
15x10.  Lent  by  Clarence  Buckingham. 

493.  THE  ACTOR  NAKAYAMA  TOMISABURO  IN  A  FE¬ 
MALE  ROLE. 

Signed:  Toyokuni  ga.  About  1802.  Size  15x10.  Lent  by  Clarence 
Buckingham. 

494.  A  WINDY  DAY  UNDER  THE  CHERRY  TREES. 
Signed:  Toyokuni  ga.  Publisher:  Senichi.  About'1805.  Triptych. 
Size  15x30.  Lent  by  Clarence  Buckingham. 

In  this  remarkable  print  Toyokuni  attains  a  height  that  he 
seldom  reached.  It  is  perhaps  his  finest  work. 

495.  WOMEN  IN  A  BAMBOO  GROVE. 

Signed:  Toyokuni  ga.  Publisher:  Yamada.  About  1807.  Trip¬ 
tych.  Size  15x30.  Lent  by  J.  Clarence  Webster. 

A  favorite  subject  with  the  artists  of  the  Kano  school  was 
the  Seven  Wise  Men  of  the  Bamboo  Grove,  a  coterie  of  Chinese 
philosophers  who  held  their  meetings  in  the  open  air.  Toyo- 
kuni’s  travesty  of  this  theme  is  qbvious. 

496.  MUSUME  RAISING  A  LARGE  UMBRELLA. 

Signed:  Toyokuni  ga.  About  1815.  Size  15x10.  Lent  by  Frederick 
W.  Gookin. 

This  print  is  perhaps  by  Toyokuni’s  son  who  also  signed  as 
Toyokuni,  but  if  so  its  charm  and  spirit  are  exceptional. 

UTAGAWA  TOYOHIRO 

This  artist,  who  was  born  in  1773  and  died  in  1828,  was  a 
fellow  pupil  of  Toyokuni  under  Toyoharu.  Though  he  pro¬ 
duced  a  gopd  many  colour  prints  of  fair  quality,  and  numerous 
illustrations  for  books,  it  is  as  a  landscape  painter  that  he  is  most 
eminent.  On  the  whole,  his  chief  claim  to  distinction  is  that  he 
was  the  master  of  Hiroshige. 

497.  SHIPS  AT  ANCHOR  IN  YEDO  BAY. 

Signed:  Toyohiro  ga.  About  1820.  Size  5x7y$.  Lent  by  J.  Clar¬ 
ence  Webster. 

—116— 


no.  475 

Utamaro 


, 

ROMS- 

*  •'■"Vv>  *  ru  ’  i:‘-  M  i  .  |  fa 

V  >0 :  i  W  A,  I  .  l/.C 

r« 

XSr  U'4<  '  hittx  t;e jhjcVhtsfhiiin 

4 


!  ».  ■'  vo<:<  ‘Vi  A  ‘vtu*  u  ? 

s  , co .i.  'K  )  »•.,  !  •  •  't  (  ■ « 


-oz 

49*-  ■  i 

cynsittsJU 

- 

0.  ;•  \  (* 

rhi-  prim  • 
T.  .  hr 


. 

I  j<r.  !  f>  •*■"*  f  iw.'rftlt  1  wt  H  !  •>  Vi  <  .  '!)!'.  4$ 

■•i  tfor  :  ti/ti  ip  -ire.  *  - 


:  v  m  A  t  JYOIHW 

u,  r  ho  «  t.vrn  4:  '  f 75  ifjij  >tl  •.  iHs{  v.  ■( 
lo  •'  *i  .  ;  ..tv  i  i<j-  «  .!  .•.>%«  he  pro* 

fi'  id  i  ;  <  in  ••*.»>  <;  4  Arid  ’w.-.fttcrwfe 


TOSHUSAI  SHARAKU 


The  eccentric  artist  known  as  Sharaku,  and  in  private  life  as 
Saito  Jurobei,  was  a  dancer  of  the  aristocratic  No,  in  the  service 
of  the  Daimyo  of  Awa.  His  portraits  of  actors,  which  were  all 
made,  it  is  said,  within  one  or  two  years,  more  for  his  own  de¬ 
light  than  for  any  profit  to  be  derived  from  their  sale,  have, 
in  spite  of  their  comic  aspect,  very  original  and  striking  quality. 
They  possess  in  marked  degree  what  the  French  designate  as 
character  and  are  highly  appreciated  by  the  Parisian  collectors. 

498.  PORTRAIT  OF.  ICHIKAWA  EBIZO. 

Signed:  Toshusai  Sharaku  ga.  Publisher:  Tsutaya.  About  1796. 
Size  15x10.  Lent  by  John  H.  Wrenn. 


499.  PORTRAIT  OF  MATSUMOTO  KOSHIRO. 

Signed:  Toshusai  Sharaku  ga.  Publisher:  Tsutaya.  About  1796. 
Size  15x10.  Lent  by  J.  Clarence  Webster. 


500.  PORTRAIT  OF  KOSAGAWA  TSUNEYO  IN  A  FE¬ 
MALE  ROLE. 

Signed:  Toshusai  Sharaku  ga.  Publisher:  Tsutaya.  About  1796. 
Size  15x10.  Lent  by  J.  Clarence  Webster. 


501.  N  AKA  YAM  A  TOMISABURO  IN  A  FEMALE  ROLE. 
Signed:  Toshusai  Sharaku  ga.  Publisher:  Tsutaya.  About  1797. 
Size  13x6.  Lent  by  Clarence  Buckingham. 


502.  SEGAWA  KIKUNOJO  IN  A  FEMALE  ROLE. 

Signed:  Toshusai  Sharaku  ga.  Publisher:  Tsutaya.  About  1797. 
Size  13x6.  Lent  by  Clarence  Buckingham. 


503.  ACTOR  OF  THE  ICHIKAWA  LINE. 

Signed:  Toshusai.  About  1797.  Size  13x6.  Lent  by  Clarence 
Buckingham. 

•  .1  .;  r-c>.H8  •'•:P  .tol  luoiA  ••  =>  c  •  : 

504.  THE  ACTOR  BANDO  HIKOSABURO. 

Signed:  Toshusai  Sharaku,  ga.  About  1797.  Size  13x6.  Lent  by 
Frederick  W.  Gookin. 

-117- 


KATSUSHIKA  HOKUSAI 

Among  all  the  artists  of  Japan  none  is  more  widely  known 
than  Hokusai.  His  renown  is  world  wide  and  his  place  among 
the  immortals  universally  conceded.  To  tell  in  the  most  com¬ 
pact  form  the  story  of  his  life  and  to  describe  his  work,  which 
was  of  almost  inconceivable  variety,  would  require  a  large  vol¬ 
ume.  Here  it  seems  necessary  to  state  only  that  he  was  born  in 
Yedo  in  the  9th  month  of  the  10th  year  of  Horeki  (1760)  and 
was  probably  the  son  of  a  mirror  maker  named  Nakajima  Issai. 
He  was  first  employed  in  a  book  shop,  then  for  about  ten  years 
he  worked  at  the  art  of  wood  engraving.  At  the  age  of  eighteen 
he  became  a  pupil  of  Katsukawa  Shunsho  and  his  earliest  works 
were  signed  Shunro.  This  was  the  first  of  many  pseudonyms. 
He  did  not  long  remain  in  Shunsho’s  studio,  from  which  it  is 
said  he  was  expelled  for  insubordination.  He  then  entered  upon 
an  independent  career,  studying  the  styles  of  manyl  eminent 
artists,  ancient  and  modern,  and  drawing  assiduously  every¬ 
thing  that  he  saw  or  dreamed.  After  a  life  of  extraordinary 
activity  he  passed  away  in  the  spring  of  1849  a*  ^ie  age  °f  89. 

505.  SURIMONO  (NEW  YEAR’S  CARD). 

Signed :  Sori  ga.  About  1801.  Size  7y£x20.  Lent  by  J.  Clarence 
Webster. 

The  subject  is  a  boat  laden  with  rice  sailing  into  a  harbor 
past  a  long  row  of  storehouses  on  the  bank.  Rice  being  the  staple 
food  product  and  that  in  which  the  revenue  of  the  government 
was  collected,  and  the  boat  being  meant  to  suggest  the  treasure 
ship  bearing  the  Gods  of  Good  Fortune,  the  whole  was  in  effect 
an  expression  of  good  wishes  for  the  New  Year. 

506.  WOMEN  VISITING  A  TEMPLE. 

Not  signed.  About  1803.  Size  10j4xl6.  Lent  by  Frank  Lloyd 
Wright. 

507.  WOMEN  AT  THE  SEA  SHORE  WATCHING  FISH¬ 
ERMEN  AND  CLAM  DIGGERS. 

Not  signed.  About  1803.  Size  10^2x16.  Lent  by  Clarence  Buck¬ 
ingham. 

508.  THREE  WOMEN  AT  A  TEMPLE  GATE. 

Signed:  Saki  no  sori  Hokusai  ga.  About  1803.  Size  8^x5j4.  Lent 
by  Clarence  Buckingham. 

This  is  a  beautiful  example  of  the  dry  printing  where  the 
colour  is  caught  upon  the  surface  fibres,  letting  the  white  of  those 

-118- 


HOKUSAI 


beneath  shine  through  it.  The  best  effects  were  secured  by 
using  a  very  soft  paper,  which  was  readily  abraded,  and  in  con¬ 
sequence  prints  of  this  type  are  rarely  met  with  in  good  condi¬ 
tion. 

509.  SHIPS  GOING  OUT  TO  SEA  AT  MAIZAKA. 

Signed:  Gakyojin  Hokusai  ga.  About  1804.  Size  4j4x6 }4.  Lent 
by  J.  Clarence  Webster. 


FOUR  PRINTS  FROM  A  SERIES  OF  VIEWS  ON  THE 
TOKAIDO. 

Signed:  Gakyojin  Hokusai  ga.  About  1804.  Size  5^4x1424.  Lent 
by  Frank  Lloyd  Wright. 

510.  NIHON  BASHI,  YEDO.  ' 

Si  1.  VIEW  OF  FUJI  FROM  HARA. 

512.  THE  BRIDGE  AT  OKAZAKI;  DAIMYO  PROCES¬ 
SION  CROSSING. 

513.  VIEW  OF  HARAIJI  TEMPLE  ON  A  FOGGY  MORN¬ 
ING  IN  SPRING. 


FIVE  PRINTS  OF  THE  SERIES:  SHOHU  HICHI  KIN 
NO  UCHI  (THE  SEVEN  WISE  WOMEN). 

Signed :  Hokusai  ga.  About  1807.  Size  8j4x3j4.  Lent  by  Frank 
Lloyd  Wright. 

514.  WOMAN  HOLDING  A  BOOK  UPON  HER  HEAD. 

515.  WOMAN  UNROLLING  A  LETTER. 

516.  WOMAN  HOLDING  A  LETTER  BEHIND  HER 
BACK. 

517.  WOMAN  HOLDING  A  BROOM. 

518.  WOMAN  READING  A  TABLET. 


5 19.  TORTOISES  ON  A  ROCKY  BANK. 

Signed :  Toyo  Hokusai.  About  1809.  Size  7}4x20.  Lent  by  J. 
Clarence  Webster. 

This  is  another  surimono.  The  tortoise  and  the  plum  blos¬ 
soms  showing  through  the  mist  are  both  emblems  of  longevity. 

-119— 


HOKUSAI 


520.  THE  LEAPING  CARP. 

Signed:  Katsushika  Taito.  About  1815.  Size  514xl0j4-  Lent  by 
Frank  Lloyd  Wright. 


TWENTY  PRINTS  OF  THE  “THIRTY-SIX  VIEWS  OF 
FUJI”  SERIES. 

Signed:  Zen  Hokusai  Tameichi  hitsu.  About  1835.  Size  1014x15. 

52 1.  FUJI  SEEN  BENEATH  A  WAVE  OF  THE  SEA  AT 
KANAGAWA. 

Lent  by  J.  Clarence  Webster. 

This  is  Hokusai’s  famous  wave. 

522.  FUJI  FROM  THE  ESTUARY  OF  THE  RIVER  TAMA. 

Lent  by  Frederick  W.  Gookin. 


523.  FUJI  SEEN  FROM  KOISHIKAWA  ON  A  SNOWY 
MORNING. 

Lent  by  Frederick  W.  Gookin. 


524.  VIEW  OF  FUJI  FROM  GOTENYAMA:  THE  CHER¬ 
RY  TREES  IN  BLOOM. 

Lent  by  Frederick  W.  Gookin. 

525.  VIEW  OF  FUJI  FROM  SENJU. 

Lent  by  Frederick  W.  Gookin. 

•.h  .  '■1  V  Jtw.:  ...  :  1-  ' 

526.  FUJI  SEEN  FROM  EJIRI :  A  WINDY  DAY  IN  THE 
RICE  FIELDS. 

Lent  by  Frederick  W.  Gookin. 

,/TFTi''"  T  A  *;/!!..  •  yU:  KAMO'  H  .?^  1 

527.  VIEW  OF  FUJI  FROM  HODOGAYA  ON  THE  TO- 
ICAIDO. 

Lent  by  Frank  Lloyd  Wright. 

528.  A  BACK  VIEW  OF  FUJI  FROM  THE  MINOBEGA- 
WA. 

Lent  by  Frank  Lloyd  Wright 

529.  FUJI  SEEN  FROM  A  BOAT  AT  USHIBORI. 

Lent  by  Frank  Lloyd  Wright. 

530.  VIEW  OF  FUJI  FROM  THE  ISUME  PASS. 

Lent  by  Frank  Lloyd  Wright. 

—120- 


*§r 


'jr? 


.  .^-A-  •  ^  V<»  C  ^J-t, 

-X  ->i«r  A  «^- 

.  xi  ->y 


jjf!.  FV  i T  SEEN  K>i:.  N  E  ATI- 
1  tan  hy  Frederick  W.  Gobi?  >n 

533.  VIEW  OF  FUJi  -ROM  K 
00:  DAI  MV  0  PROCESS!  I 

01. 


VIEW  Ob  FUJI 

l?Rf  - 

KATAXORA, 

11'  i'it'.’-r'i  W. 

GoOi:i 

i Ei ...  -  t  iv1.  -  >  *  i  i  MO  -  \  •.  >  A 


■'3- 

00 

LO 

6 

53 


<u 

tojo 

•  H 

c/} 

o 

•  T“ < 

w 


HOKUSAI 


531.  FUJI  SEEN  BENEATH  MONNEN  BRIDGE. 

Lent  by  Frederick  W.  Gookin. 

532.  VIEW  OF  FUJI  FROM  KANAYA  ON  THE  TOKAI- 
DO :  DAIMYO  PROCESSION  FORDING  THE  RIVER 
01. 

Lent  by  Frederick  W.  Gookin. 

533.  VIEW  OF  FUJI  FROM  A  TEA  PLANTATION  AT 
KATAKURA. 

Lent  by  Frederick  W.  Gookin. 

534.  FUJI  SEEN  FROM  HICHIGAHAMA. 

Lent  by  Frank  Lloyd  Wright. 

535.  VIEW  OF  FUJI  FROM  THE  SEA  AT  TAGO-NO- 
URA. 

Lent  by  Frank  Lloyd  Wright. 


536.  VIEW  OF  FUJI  FROM  SHIMO  MEGURO. 

Lent  by  Frank  Lloyd  Wright. 

537.  VIEW  OF  FUJI  FROM  NAKAHARA. 

Lent  by  Frank  Lloyd  Wright. 

538.  FUJI  SEEN  FROM  ONO  SHINDEN  IN  SURUGA; 
CARIBOU  LADEN  WITH  FAGOTS  IN  THE  FORE¬ 
GROUND. 

Lent  by  Clarence  Buckingham. 

539.  FUJI  SEEN  FROM  THE  SEA  SHORE  AT  ISHI- 
BUCHIZAWA. 

Lent  by  Frederick  W.  Gookin. 


540.  THE  WHITE  GAP  OF  FUJI;  A  THUNDERSTORM 
BELOW. 

Lent  by  Frederick  W.  Gookin. 


541.  SAKE  BOTTLE  GATHERERS  IN  A  SNOW  STORM. 
Not  signed.  About  1836.  Size  14x3.  Lent  by  Frank  Lloyd  Wright. 

542.  NIGHTINGALE  UPON  A  BLOSSOMING  PLUM 
TREE  UNDER  THE  FULL  MOON. 

Not  signed.  About  1836.  Size  14x3.  Lent  by  Frank  Lloyd  Wright. 
.  -121— 


HOKUSAI 

TWO  PRINTS  OF  THE  SERIES:  SHOKOKU  MEIKO 
KIRAN  (FAMOUS  BRIDGES). 

543.  KINTAI  BRIDGE. 

Signed:  Zen  Hokusai  Tameichi  hitsu.  Publisher:  Eijudo.  About 
1836.  Size  10x15.  Lent  by  J.  Clarence  Webster. 

544.  THE  BOAT  BRIDGE  AT  SANO  IN  KOZUKI. 

Lent  by  John  H.  Wrenn. 

TWO  PRINTS  OF  THE  SERIES:  RYUKYU  HAKKAI. 

545.  RYUTO  IN  SNOW. 

Signed:  Zen  Hokusai  Tameichi  hitsu.  About  1837.  Size  10j4xl5. 
Lent  by  Frank  Lloyd  Wright.  v 

546.  THE  LONG  RAINBOW  BRIDGE  ON  A  CALM  DAY 
IN  AUTUMN. 

Lent  by  Frank  Lloyd  Wright. 


THREE  PRINTS  FROM  THE  SMALL  SERIES  OF  BIRDS 
AND  FLOWERS. 

Signed:  Zen  Hokusai  Tameichi  hitsu.  About  1837.  Size  10x7 H- 
Lent  by  Clarence  Buckingham. 

547.  ROBIN  AND  WEEPING  CHERRY. 

548.  FINCH  AND  MAGNOLIA. 

549.  CANARY  AND  PEONY. 


FOUR  PRINTS  FROM  THE  SERIES:  HYAKUNIN  IS- 
SHU  WAKA  ETOKI  (ILLUSTRATIONS  OF 
ONE  HUNDRED  FAMOUS  POEMS). 

Signed:  Zen  Hokusai  manji.  About  1838.  Size  10x15. 


550.  VIEW  OF  FUJI  SAN  FROM  TAGO-NO-URA. 

Lent  by  Frederick  W.  Gookin. 

551.  THE  AWABI  DIVERS. 

Lent  by  J.  Clarence  Webster. 


552.  WOMEN  GATHERING  LOTUS  LEAVES. 

Lent  by  J.  Clarence  Webster. 

553.  A  MORNING  WALK. 

Lent  by  Frederick  W.  Gookin. 

-122- 


HIROSHIGE 

The  last  great  name  in  the  history  of  the  Ukiyo-e  school  is 
that  of  Hiroshige,  the  consummate  master  of  landscape  art.  Few 
details  of  his  life  are  certainly  known,  and  differences  of  opinion 
exist  as  to  whether  the  numerous  works  signed  Hiroshige  are 
by  one  man  or  two.  The  supposition  that  there  were  two  artists 
of  equal  ability,  working  side  by  side,  using  the  same  name,  and 
following  each  other’s  style  with  phenomenal  closeness,  rests  upon 
the  theory  that  the  signatures,  of  which  there  are  two  distinct 
types,  cannot  be  by  the  same  hand.  In  the  opinion  of  the  present 
writer,  the  differences  in  the  signatures  are  not  greater  than 
would  normally  occur  in  one  man’s  writing  in  the  course  of  a 
number  of  years.  In  all  probability  the  original  source  of  error 
was  the  knowledge  that  there  was  a  second  Hiroshige.  His 
works,  however,  were  much  later  and  fall  far  short  of  the  mas¬ 
ter’s. 

Hiroshige’s  own  name  was  Ando  Tokitaro.  He  was  born  in 
1797,  and  at  the  age  of  fifteen,  having  failed  to  get  into  the 
crowded  studio  of  Tovokuni,  he  became  a  pupil  of  Toyohiro. 
For  the  world  this  may  be  regarded  as  a  fortunate  circumstance. 
After  a  life  full  of  activity  he  died  on  the  6th  day  of  the  9th 
month  of  Ansei  5  (1858)  and  was  buried  in  Togaku  Temple, 
Shinteramachi,  Asakusa,  Yedo.  From  his  master  Toyohiro  he 
adopted  the  name  Ichiryusai  (one  standing  alone),  which  he  after¬ 
ward  changed  to  Ichiyusai  (profoundly  deep).  For  various 
reasons  no  attempt  has  been  made  to  assign  dates  to  his  prints 
here  exhibited.  They  cover  the  period  from  about  1820  to  the 
end  of  his  life. 

Except  as  otherwise  credited,  all  of  the  prints  by  Hiroshige 
in  this  exhibition  are  lent  by  Frank  Lloyd  Wright. 

554.  THE  SWEEP  OF  FOAM  ON  MAIKO  BEACH. 

Signed:  Ichiyusai  Hiroshige  ga.  Size  9j4xl4.  Lent  by  Frank  Lloyd 
Wright. 

FOURTEEN  PRINTS  OF  THE  SERIES :  TOKAIDO  GO  JU 
SAN  TSUGI  (THE  FIFTY-THREE  POST  STATIONS 
ON  THE  TOKAIDO). 

Signed:  Hiroshige  ga.  Size  934xl4y£.  Lent  by  J.  Clarence  Web¬ 
ster.  'L  L 

The  so-called  “first  series”  of  views  on  the  Tokaido  or  post 
road  between  Yedo  and  Kyoto — of  which  fifteen  numbers  are 
shown  in  this  exhibition — made  Hiroshige  famous.  Such  was  the 
popularity  of  the  prints  that  edition  after  edition  was  issued,  until 

—123— 


HIROSHIGE 


/ 


the  blocks  were  worn  out ;  then  they  were  re-engraved  and  the 
process  was  repeated.  Poor  copies  are  abundant ;  fine  ones  are 
etremely  rare ;  the  difference  between  them  is  very  great. 

555.  NIHON  BASHI,  YEDO. 

556.  SHIRATSUKA :  DAI M Yd  PROCESSION  PASSING. 

557.  TRAVELERS  FORDING  THE  ABEKAWA  AT 
FUCHU. 

558.  A  WINDY  DAY  AT  YOKAICHI. 

559.  DAIMYO  PROCESSION  CROSSING  THE  BRIDGE 
AT  OKAZAKI. 

560.  SNOWY  NIGHT  AT  KAMBARA. 

561.  MORNING  FOG  AT  MITSUKE. 

562.  VIEW  OF  THE  SEA  AND  MOUNT  FUJI  FROM  YUI. 

( [y  .  '  rr'/L?  rjitibi* *" i ■ >  1o‘o f  * 

563.  THE  FERRY  AT  KAWASAKI. 

564.  THE  SLOPE  OF  KAMEYAMA  IN  SNOW. 

565.  A  SHOWERY  DAY  AT  SHONO. 

566.  TRAVELERS  AT  MISHIMA  ON  A  MISTY  MORN¬ 
ING. 

567.  FISHING  BOATS  AT  EJIRI. 

568.  THE  FULL  MOON  AT  NUMAZU. 

i  - j — 

SERIES:  OMI  HAKKEI  (EIGHT  SCENES  ON  LAKE 
BIWA  IN  OMI). 

Signed:  Hiroshige  ga.  Size  10x14^.  Lent  by  Frank  Lloyd  Wright. 
This  series  contains  some  of  Hiroshige’s  most  celebrated  prints. 
The  copies  here  shown  are  exceptionally  fine. 

-124- 


HIROSHIGE 


569.  GEESE  ALIGHTING  AT  KATADA. 

570.  BOATS  SAILING  FROM  YAHASHI. 

571.  THE  AUTUMNAL  MOON  AT  ISHIYAMA. 

5 72.  EVENING  SNOW  ON  HIRAYAMA. 

573.  EVENING  GLOW  AT  SETTA. 

574.  BRIGHT  SKY  WITH  A  BREEZE,  AWAZU. 

575.  THE  EVENING  BELL  AT  MIIDERA. 

576.  NIGHT  RAIN  AT  KARASAKI. 


SERIES:  KINKO  HAKKEI  (EIGHT  VIEWS  NEAR 
YEDO). 

Signed:  Hiroshige  ga.  Size  10x14  J4.  Lent  by  Frank  Lloyd  Wright. 
The  charm  of  Hiroshige’s  prints  is  due  primarily  to  the  per¬ 
fect  balance  of  the  composition,  but  also  in  such  superb  copies 
as  those  of  the  Kinko  Hakkei  here  exhibited  to  the  wonderfu. 
tone  and  the  beauty  of  the  printing. 

"-ihM-.W  bvol.J  staci*  jn  .'■■■;0okL  .  r  r 

577.  MORNING  SNOW  ON  ASUKA  HILL. 

578.  SUNSET  AT  KOGANE  BRIDGE. 

579.  EVENING  RAIN  AT  AZUMA. 

580.  THE  EVENING  BELL  AT  IKEGAMI. 

581.  CLEARING  WEATHER  AT  SHIBAURA. 

582.  RETURNING  BOATS  AT  GYOTOKU. 

583.  GEESE  FLYING  DOWN  AT  HANEDA. 

584.  AUTUMN  FULL  MOON  ON  THE  TAMAGAWA. 

—12s— 


HIROSHIGE 


SEVEN  PRINTS  OF  THE  SERIES:  KISOKAIDO  ROKU 
JU  KU  TSUGI  (THE  SIXTY-NINE  POST  STATIONS 
OF  THE  KISOKAIDO). 

Signed :  Hiroshige  ga.  Size  10xl4j4.  Lent  by  Frank  Lloyd  Wright. 
The  Kisokaido  series  was  the  joint  production  of  Hiroshige 
and  Keisai  Yeisen,  each  contributing  a  part  of  the  designs. 

585.  MIYA-NO-KOSHI :  PEOPLEx  GOING  HOME  BY 
MOONLIGHT. 

586.  MOONLIGHT  AT  NAGAKUBO. 

587.  OKUTO.  FAGOT  GATHERERS  RETURNING. 

588.  MOCHIZUKI  BY  MOONLIGHT. 

589.  ARAIMA  BY  MOONLIGHT. 

590.  A  GENTLE  BREEZE  AT  MIEJI. 

591.  THE  INSPECTION  GATE  AT  FUKUSHIMA. 


NINE  PRINTS  OF  THE  SERIES:  KYOTO  MEISHO 
(CELEBRATED  VIEWS  IN  AND  ABOUT  KYOTO). 
Signed:  Hiroshige  ga.  Size  9%xl4.  Lent  by  Frank  Lloyd  Wright, 

592.  EVENING  ON  THE  RIVER. 

593.  RED  MAPLES  AT  TORIAMA  BRIDGE. 

594.  CHERRY  BLOSSOMS  ON  ARASHIYAMA  AT  YO- 
SHINO  RAPIDS. 

595.  A  NIGHT  PASSENGER  BOAT  ON  THE  RIVER 
YODO. 

596.  A  SHOWER  AT  KAWABARA. 

597.  THE  WILLOW  AT  THE  ENTRANCE  TO  THE  SHI- 
MABARA. 

598.  GION  TEMPLE  IN  SNOW. 


HIROSHIGE 


599.  CHERRY  BLOSSOMS  AT  KIYOMIDZU  TEMPLE. 

600.  HASE:  FAGGOT  GATHERERS  GOING  HOME. 
THREE  PRINTS  OF  THE  SERIES :  TOTO  MEISHO. 

Signed :  Ichiyusai  Hiroshige  ga.  Size  9x14.  Lent  by  John  H. 
Wrenn. 

601.  YEDO  BAY  FROM  GOTENYAMA  IN  THE  TIME  OF 
THE  CHERRY  BLOSSOMING. 

602.  THE  SUMTDA  RIVER  IN  SPRING. 

Lent  by  Frederick  W.  Gookin. 

603.  SHINOBAZU  POND. 

Lent  by  Frank  Lloyd  Wright. 

thre;e  prints  of  THE  SERIES :  YEDO  MEISHO. 

Signed:  Hiroshige  ga.  Size  10x15.  Lent  by  Frank  Lloyd  Wright. 

604.  SHINOBAZU  POND  IN  SPRING. 

605.  A  SLIGHT  SHOWER  AT  NIHON  BASHI. 

606.  THE  TEMPLE  GARDEN  AT  TEMMANGU  IN  SNOW. 


THREE  PRINTS  OF  THE  SERIES :  TOTO  MEISHO. 

Signed:  Hiroshige  ga.  Size  1454x5.  Lent  by  Frank  Lloyd  Wright. 

60 7.  A  SHOWER  AT  ASAKUSA. 

608.  FULL  MOON  OVER  THE  YOSHIWARA. 

609.  RAFTSMAN  ON  THE  SUMIDAGAWA  IN  A  SNOW¬ 
STORM. 


TWO  PRINTS  OF  THE  SERIES :  KANAGAWA  HAKKEI. 

Signed :  Hiroshige  ga.  Size  10x15.  Lent  by  Frank  Lloyd  Wright. 

610.  EVENING  SNOW  AT  UCHIKAWA. 

61 1.  THE  EVENING  BELL  AT  BANSHO. 

-127— 


HIROSHIGE 


612.  CHERRY  TREES  ON  THE  BANK  OF  THE  SUMIDA 
RIVER  IN  RAIN. 

Signed:  Hiroshige  hitsu.  Size  9x14.  Lent  by  Frank  Lloyd  Wright. 

613.  A  SNOWY  MORNING  ON  THE  SUMIDA  RIVER. 
Signed:  Hiroshige  ga.  Size  9x14.  Lent  by  Frank  Lloyd  Wright. 

614.  SNOW  LANDSCAPE  AT  AKABANE,  YEDO. 

Signed:  Hiroshige  ga.  Size  9x14.  Lent  by  Frank  Lloyd  Wright. 

615.  THE  NICHO-MACHI,  YEDO. 

Signed:  Hiroshige  ga.  Size  9x14.  Lent  by  Frank  Lloyd  Wright. 
At  the  right  is  one  of  the  principal  theatres.  Across  the  street 
at  the  left  are  tea  houses  where  theatre  goers  purchased  tickets 
and  arranged  for  refreshments  to  be  served  during  the  play  and 
at  its  close. 

616.  ENTRANCE  TO  THE  YOSHIWARA  ON  A  MOON¬ 
LIGHT  NIGHT. 

Signed:  Hiroshige  ga.  Size  9x14.  Lent  by  Frank  Lloyd  Wright. 

617.  VIEW  ACROSS  YEDO  BAY  FROM  HACHIMAN 
TEMPLE  SUNAMURA. 

Signed:  Hiroshige  hitsu.  Size  14x9.  Lent  by  Frank  Lloyd  Wright. 

618.  MEGURO  IN  AUTUMN. 

Signed:  Hiroshige  ga.  Size  14x9.  Lent  by  Frank  Lloyd  Wright. 

619.  ISHIYAKUSHI  IN  SNOW. 

Signed:  Hiroshige  ga.  Size  9xl3j4.  Lent  by  Frank  Lloyd  Wright. 

620.  WINTER  LANDSCAPE  FROM  MIMEGURI  ON  THE 
SUMIDA. 

Signed:  Hiroshige  ga.  Size  7^4x13^2.  Lent  by  Frank  Lloyd  Wright. 

621.  THE  SARUBASHI  (MONKEY  BRIDGE)  IN  THE 
PROVINCE  OF  KOSHU. 

Signed:  Hiroshige  hitsu.  Stamp:  Ichiryusaai.  Publisher:  Tsutaya. 
Size  28x9^4.  Lent  by  Clarence  Buckingham. 

Among  Hiroshige’s  later  works  no  one  is  more  celebrated 
than  the  Monkey  Bridge.  Fine  copies  are  rarely  met  with. 

622.  PEACOCK  PERCHING  ON  A  MAPLE  TREE. 

Signed:  Hiroshige  hitsu.  Size  15x5.  Lent  by  J.  Clarence  Webster. 

—128- 


/ 


HIROSHIGE 

623.  DUCK  SWIMMING  IN  A  POND  IN  WINTER  TIME. 

Signed:  Hiroshige  hitsu.  Size  15x7.  Lent  by  J.  Clarence  Webster. 

624.  BIRD  PERCHING  ON  A  BIWA  (LOQUAT)  TREE. 

Signed:  Hiroshige  hitsu.  Size  15x7.  Lent  by  J.  Clarence  Webster. 

625.  PHEASANT  ON  A  SNOW-LADEN  PINE  TREE. 

Signed :  Hiroshige  hitsu.  Size  15x5%.  Lent  by  Frank  Lloyd 
Wright. 

626.  BAMBOO. 

Signed  .with  stamps  only.  Size  13%x6.  Lent  by  Frank  Lloyd 
Wright.  . 

627.  OWL  UPON  A  PINE  BRANCH. 

Signed :  Hiroshige  hitsu.  Size  15x5%.  Lent  by  Frank  Lloyd 
Wright, 

628.  CUCKOO  FLYING  THROUGH  A  SHOWER. 

Signed:  Hiroshige  hitsu.  Size  15x5%.  Lent  by  Frank  Lloyd 
Wright. 

629.  HERONS  AND  IRIS. 

Signed:  Hiroshige  hitsu.  Size  10 %x7%.  Lent  by  Frank  Lloyd 
Wright. 

630.  SWALLOWS  AND  WISTARIA. 

Signed:  Hiroshige  hitsu.  Size  10%x7 %.  Lent  by  Frank  Lloyd 
Wright.  Tj. 

631.  PHEASANT  AND  SNOW-LADEN  BAMBOO. 

Signed:  Hiroshige  hitsu.  Size  10 %x7%.  Lent  by  Frank  Lloyd 
Wright. 

632.  FROGS  CROAKING  UNDER  DROOPING  BRANCH¬ 
ES  OF  YAMABUKI. 

Signed:  Hiroshige  hitsu.  Size  15x6%.  Lent  by  Frank  Lloyd  Wright. 

633.  HERON  FLYING  OVER  IRIS. 

Signed:  Hiroshige  hitsu.  Size  15x6%.  Lent  by  Frank  Lloyd  Wright. 

634.  THE  CAVE  TEMPLE,  ENOSHIMA. 

Signed:  Ichiyusai  Hiroshige  ga.  Series.  Honcho  Meisho.  Size 
10x15.  Lent  by  Frank  Lloyd  Wright. 

—129— 


HIROSHIGE 

TEN  PRINTS  OF  THE  SERIES :  TOTO  SAN  JU  ROKKEI 
(THIRTY-SIX  VIEWS  OF  YEDO). 

Signed:  Hiroshige  ga.  Size  15x10.  Lent  by  Frank  Lloyd  Wright. 

635.  EVENING  MIST  AT  ZOJOJIN  TEMPLE. 


636.  MOONLIGHT  AT  MIMEGURI  TEMPLE. 


637.  THE  NAKASU  MITSUMATA  IN  THE  SUMIDA 
RIVER. 


638.  FIREWORKS  AT  RYOGOKU. 


639.  THE  GARDEN  OF  KANDA  TEMPLE  IN  WINTER. 

640.  A  SUMMER  SHOWER  AT  OHASHI. 


641.  FISHING  BY  NIGHT  OFF  TSUKUDAJIMA. 


642.  WISTARIA  ARBOR  IN  THE  GARDEN  AT  KAME- 
IDO. 


643.  A  WIDE  VISTA  OVER  THE  SNOW-COVERED 
LANDSCAPE  AT  SUSAKI. 


644.  “FOX  FIRES”  AT  OJI. 


.fduhW  L',oLT  jliiavl  :!i  V  '  .  :  ssi2  '  W::.!,ovT  'M 

645.  FALCON  ON  A  SNOW-LADEN  PINE  TREE. 

Signed :  Hiroshige  hitsu.  Stamp :  Ichryusai.  Publisher :  Sanoki. 
Size  29x9J4.  Lent  by  Frank  Lloyd  Wright. 

*4*  ~  * . . .  '■*'**■■  '  ' 

646.  KISO  IN  SNOW. 

Signed:  Hiroshige  hitsu.  Stamp:  Ichiryusai.  Size  28^x9j4- 
Lent  by  Frank  Lloyd  Wright. 

-130- 


NO.  628 
Hiroshige 


no.  627 
Hiroshig 


535,  EVENING  MIST  Vf  ZO)i  :,N  rf;  ;n. 


MOONLIGHT  Vf  MUrtEGURi  TEMPI* 


6?;.  TitE  \'A  .  V3U  MITSUMATA  IN 
RIVl'.R. 


('.3,  1 ; IE  ( .A RDEN*  OF  KANfXA  TEMPI-E  IN  WINTER. 


,y.  WISTARIA  ARBOR  IN  THE  CARD'.  .  AT  KA ME- 

IDO.  •  -»  • 


vii -r  vis  '  «: ' '  «:r  t  i  v.  snc  vv  >  ■  v. -i.  -v . .  o 

I  ANDSCAPE  AT  SUSAKX  , 


644.  ‘  FOX  FIRES”  AT  OJI. 


•r-  !  -VOX  ON  A  SNOW-LADEN  PINE  TREE, 

Signori:  Hiroshige  hitsa.  Stamp  icbrytiat.  Publisher:  Sanoiri 
-:>/<•.  29x9H,  Lent  bjr  Frank  Lloyd  Wright.  '--mUH 

■  1  I$0  IN  SNOW.  ' 


••VnM :  fliiwhige-  titan.  Stamp:  Ichirynmi  Sir-  t 

i  ent  hj  Frank  Lloyd  Wriglit.  - 


HIROSHIGE  SECOND 

The  artist  who  signed  “Second  Generation  Hiroshige”  was 
an  adopted  son  of  the  first  Hiroshige,  whose  style  he  closely  imi¬ 
tated.  After  his  father’s  death  he  seems  to  have  fallen  into  dis¬ 
grace  and  it  is  said  that  he  was  compelled  to  leave  Yedo  and  aban¬ 
don  the  use  of  the  name  Hiroshige,  and  that  he  settled  at  Yoko¬ 
hama,  where  he  went  by  the  name  of  Hirochika. 

647.  NIGHT  RAIN  AT  KARASAKI. 

Signed:  Ni-se  (second  generation)  Hiroshige  ga.  Also  by  the 
engraver,  Koizumi.  Series :  Omi  Hakkei.  Size  9x14.  Lent  by 
Frank  Lloyd  Wright. 

648.  SNOW  ON  HIRAYAMA. 

Same  series  as  the  preceding  number.  Lent  by  Frank  Lloyd  Wright. 


KEISAI  EISEN 

Ikeda  Zenjiro  Yoshinobu,  whose  artist  name  was  Keisai  Eisen, 
was  born  in  Yedo  in  1791  and  died  in  1848.  He  was  one  of  the 
leading  artists  of  his  day.  Of  his  works,  which,  in  subject, 
cover  a  wide  range,  the  landscapes,  after  the  manner  of  Hiro¬ 
shige,  are  the  most  notable. 

649.  KISO  IN  SNOW. 

Signed:  Keisai.  Size  28x9 Vi.  Lent  by  Frank  Lloyd  Wright. 


ARTICLES  USED  BY  THE  JAPANESE  IN  COLOUR 
PRINTING. 

650.  Block  having  engraved  upon  one  side  a  large  design  by 
Nishimura  Shigenaga,  showing  the  various  stages  of  rice 
culture,  and  upon  the  other  side  a  portrait  of  an  actor  by 
Okumura  Toshinobu,  and  two  illustrations  for  a  book  upon 
the  art  of  flower  arrangement.  As  a  matter  of  economy  it 
was  customary  thus  to  make  use  of  both  sides  of  the  blocks. 
This  one,  which  was  used  about  1730,  was  for  printing  in 
black  only,  hence  there  are  no  register  marks  such  as  were 
necessary  in  making  colour  prints  from  several  blocks. 

Lent  by  Frederick  W.  Gookin. 

—131— 


651.  Block  having  engraved  upon  both  sides  with  portraits  of 
actors  by  Kunisada.  The  registry  mark  is  a  right-angled 
mark  or  notch  at  the  lower  left-hand  corner.  Used  about 
1845. 

Lent  by  Frank  Lloyd  Wright. 

652.  (A)  Nine  tools  used  in  engraving  blocks  for  printing. 

(B)  Brush  used  in  charging  the  blocks. 

(C)  Baren,  or  pad  covered  with  bamboo  sheath.  This  was 
held  in  the  printer’s  hand  and  used  to  press  the  paper  upon 
the  charged  blocks.  (See  page  16,  Introduction). 

Lent  by  Arthur  W.  Dow,  Professor  of  Fine  Arts  in  Columbia 
University. 

S' 


•Ur! 


< 

